2016年 06月 20日
Lest every image start looking the same |
Every single photo, be it simple or complex, novice or professional, must always start with two essential components: A subject and a background. Whether we’re talking about people, products, or skyscrapers, it’s the same story. Mercifully, greater control is bestowed upon the photographer lucky enough to work with food, effortlessly modifying textures, colors, and patterns to best highlight the dish du jour. Inevitably cast as the backup singer by definition, photographic backgrounds never get the praise they deserve for setting the scene. Few single components can lay claim to the same power when it comes to affecting the whole composition of a piece in one fell swoop. Such responsibility naturally comes with serious drawbacks, especially when you find your microscopic apartment studio bursting at the seams with huge wooden boards and slabs of worn ceramic tiles. it becomes imperative to start diversifying your options, and fast .
For a number of years, I found moderate success using lengths of contact paper as one approach to expand my collection of backgrounds, but this approach has distinct limitations. Rarely do the most useful patterns come in a matte finish, leading to distracting reflections or harsh shiny spots under the glare of strobe lights, especially if there should ever be the smallest wrinkle in the roll nuskin.
It was a serendipitous moment of aimless online shopping when I stumbled across Ink and Elm Backdrops. Though clearly developed with the portrait photographer in mind, I immediately saw potential for my inanimate focal points, too. Made of high-quality vinyl, the big question would be how that texture would translate under the close scrutiny of a macro lens. Don’t expect deep wood grain or genuine stone surfaces, but happily, not a single image came out screaming “ARTIFICIAL PRINT BACK HERE! THIS IS ALL A FARCE!” Good news too, since I hate it when my props yell at me Neo skin lab.
For a number of years, I found moderate success using lengths of contact paper as one approach to expand my collection of backgrounds, but this approach has distinct limitations. Rarely do the most useful patterns come in a matte finish, leading to distracting reflections or harsh shiny spots under the glare of strobe lights, especially if there should ever be the smallest wrinkle in the roll nuskin.
It was a serendipitous moment of aimless online shopping when I stumbled across Ink and Elm Backdrops. Though clearly developed with the portrait photographer in mind, I immediately saw potential for my inanimate focal points, too. Made of high-quality vinyl, the big question would be how that texture would translate under the close scrutiny of a macro lens. Don’t expect deep wood grain or genuine stone surfaces, but happily, not a single image came out screaming “ARTIFICIAL PRINT BACK HERE! THIS IS ALL A FARCE!” Good news too, since I hate it when my props yell at me Neo skin lab.
by hcoco6
| 2016-06-20 13:24