They are plastic, but very strong and the clamping power is quite good. The only annoyance is the little red pads on the end, swivel all the way around so if you are trying to attach something up high with one hand, sometimes they flip backwards and don't grab correctly. You just need to make sure they are facing inwards before you reach up high. I used all 6 clamps to attach a large king size sheet to a linco backdrop stand and it was enough - ... full review
Easy to use and looks good in portraits. I used a stand by Fancierstudio and clips by LimoStudio and got this backdrop set up nicely. It's plenty long, and looks like you could cut it up and use it to cover a larger area, however I wish it were wider. It's just barely wide enough for a good portrait, but not any wider. It looks good if you put your subject a foot or so in front of it with a large aperture and get some bokeh on it.
This kind of fabric has an amazing quality that absorbs light from flashes around the studio. It enables you to have a pitch-black (if using black velour) portrait background that will not reflect the light from your flash or lighting equipment. This way, you don’t have to worry about the direction of light affecting the background because it leaves no detail.
I am helping a friend’s daughter with her wedding planning and want to make a backdrop like this for the wedding ceremony. Can you elaborate on how the strings of lights were plugged in and whether they all “hung” versus the string light hanging down and then looping back up, if that makes sense? I like the look of them just hanging but it seems like plugging a bunch of individual ones would be hard. Am I making this too complicated?!
Some canvas backdrops include subtle patterns that provide an interesting but neutral background that doesn’t compete with a portrait subject for attention. Darker backgrounds can be used for low-key lighting, while a lighter, well-lit photo background can create a completely different high-key mood. Canvas backdrops at Adorama range in price from around $135.00 for a 5×7 to $270.00 for an 8×8-foot cloth.
In summary, the key factors to getting the backdrop and subject lit in a similar exposure zone is distance; The distance of the subject to the background and the distance of the light source to the subject. Decrease the distance of the subject to background and increase the distance of the main light to the subject to make this easier. The key factor for getting a soft and directional quality to the light is also distance, but it's the opposite. By getting the light closer to the subject, we can create a softer light with more directional qualities. Also remember that these qualities of the light are relative to the size of the light source. If you are using a smaller light source, you will need to get it in closer to hold those transitional values. If you are using a larger light source, you may be able to get your light further back and still hold those soft-light qualities. Also, if the examples and basic principles here make sense to you, you have kind of just learned the inverse square law!
Backgrounds, also known as backdrops, are a standard feature used in a controlled setting such as a photography studio. The ability to change backgrounds adds versatility to portraits allowing you endless possibilities in truly crafting an image. Backdrops are available in various types and are categorized based on the size and materials they are made of. These can range from simple solids to subtle patterns and even custom-painted, photo-realistic scenes. To effectively use a backdrop you will need stands and other accessories.
Nice strong clamp. Seems well made for an inexpensive gadget. Very handy addition to the things you can mount a camera to when either you don't have a tripod or the tripod just won't work. I have not tried it with the SLR but should hold well unless the camera is quite large or with a long heavy lens. Probably best with P&S or the smaller SLR & lenses.