![]() The next step is to think about what mood I want in the image. I’ll often use a dark grey wall as my background - I have a mobile wall in the studio, or I simply paint the studio walls dark grey - as this allows me the most control over how dark or light I want the background. You’ll find a number of examples of portraits on black backgrounds on both my portfolio and in our portrait photography course, but key to any successful black background portrait are the points I’ve discussed above. I also find that these materials require more retouching than the other options. Paper rolls and pop up backgrounds are also an option, though these can cause some difficulty with light reflectance if you’re working in a small space. ![]() With these, you’ll have to work with your subject some distance from the background to avoid your lighting having an impact, and you’ll need to make sure to choose a matte paint to avoid unnecessary reflections or highlights. ![]() While most black fabrics will work just fine, velvet is the best for absorbing the light, which means you can position your subject quite close to the background without worrying that your lights will have an effect.Īnother common photography background that I often use, especially for product photography, is MDF boards, which I paint black or dark grey (you can make a grey background black simply by working slightly further away from the backdrop, as I’ll explain later). When it comes to the best material for black backgrounds, velvet is by far the best choice.
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