You can fix almost anything in Photoshop but getting it as right as possible in the camera reduces you post production workload, and any reduction in that is welcome.Īs I said in my earlier post, duvetyne is best since it is made for the purpose of appearing as a black hole. I would have to watch for this and add masking, which means more work in Photoshop vs Lightroom. Adjusting the Black point, however you do it, can expand these areas and adversely effect the portrait. It isn't unusual to find a few places that are black clipping. In my portraits I frequently get areas under the hair around the ears that is very dark.
#BLACK BACKDROP LIGHTING FULL#
If you need full length or the person is going to be moving it may be hard even with velvet or duvetyne How big a backdrop do you need? Will the person be moving around? If it's a head-and-shoulders shot of a speaker who is not moving you may be able to do it with careful lighting and muslin or paper. If you have a blond dressed in white it's easy for a dark haired subject wearing black could be almost impossible. Might work in still photography but I have doubts about video unless you have very good subject/ background separation. (It’s a small room converted into a studio, hence the reason for these questions).Īre there important dark area in the subject? Dark hair, dark clothing, etc.? If so tweaking could be difficult, if not impossible. In my case, the person will be standing 3 feet in front of the background. with sufficient Photoshop tweaking of curves, can that sheen of black Muslin be made to easily become perfectly black? But I wonder if adjusting the curves in Photoshop and other editors, to bring down the low values, does that overcome that inherent sheen of Muslin? i.e. with sufficient Photoshop tweaking of curves, can that sheen of black Muslin be made to easily become perfectly black?I take everyone's point that the inherent sheen of black muslin makes it difficult to achieve. I take everyone's point that the inherent sheen of black muslin makes it difficult to achieve. Velvet is better than muslin because of the nap. Muslin tends to have a surface sheen that makes getting the background pure black without a sufficient distance between the subject and background. I have used black velvet for years and, if there is no lint on the surface, it is totally black.
You don't want crushed velvet, however, as that surface has been pressed flat and permanently wrinkled.
It's not just the black color, because nothing is perfectly black, but the black velvet pile is a bit like the theoretical physics "black body" in that light is absorbed in the fibers and not reflected back. I think black velvet is a must if the background will be well lit or close to the subject. Or is it the case that a totally black background can be achieved by judicious lighting with barndoors, and post-processing, even with a cheaper black backdrop material? I’d appreciate comments from people who have experience with black velvet, and whether it is worth the extra expense to achieve the totally black backgrounds for my videos? In terms of backdrop material for achieving maximum black, I heard that the more expensive black velvet (studio-grade) is excellent for reducing reflections, compared to cheaper black muslin sold on eBay. I realize ideally the subject should be as far away from the backdrop as possible, however, my studio/room is very small which means the subject will be about 3 ft/1 metre from the backdrop. I want to create lighting for videos, where the background is totally black.
0 kommentar(er)
