What color for a studio? - DPChallenge Forums

Canon 12x IS USM (S3 IS built-in Lens) -- 36-432mm (35mm EQ)

08/02/2010 04:32:00 PM · #1

I'm just finishing the drywall on my studio space and would like some advice/opinions about what color to paint the walls and ceiling.
o I had thought about white, which seems to be typical for some larger studios, but my space is only 14' x 20' with 9 1/2 foot ceilings. With which I would probably have light bouncing everywhere.
o I thought about a medium gray, like the gray on my color target, but that would make for a very dark space for set-up, take-down, etc.
o I figure the ceiling is either white or black, but I don't have enough real experience to understand the implications of either.

Let me know what you think... I've got one more day of sanding before the painting starts. Thanks!

GeneralE

Canon PowerShot S3 IS

08/02/2010 04:48:41 PM · #2

You want some shade of neutral gray to avoid introducing possible color-cast problems. 18% is tradational but you could probably go a bit lighter to give you a bit more reflectivity if you want. Maybe paint the ceiling lighter than the walls for a bounce surface ...

Nikon AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II

08/02/2010 05:01:38 PM · #3

So, I watched a live-stream Zack Arias workshop, and somebody asked this exact question: his answer was white walls for larger spaces, since you can always back far enough away from them to let them go darker. He noted that for smaller spaces, darker was better, since it is hard to control all the bounce off the walls and ceiling (kinda like shooting INSIDE a softbox.

I tend to agree--I have worked in a large studio space, and it was all white walls--back 10 feet away from the wall (place the model there) and it is easy to control the light so the wall behind goes darker. And you can work in close in a white corner and have lots of soft bounce. At home, small living room, I have to be much more careful--for example, a normal shoot thru umbrella will reflect onto the wall/ceiling more efficiently than the shoot thru portion--so I got the "japanese lantern" style with the black backing on the open end of the umbrella.

If it was me, I would probably go with a middle gray. On the other hand, one studio I use simply put two concentric curtain tracks, one with floor to ceiling black curtains, one with white. This is very effective and flexible.

With low ceilings, I would go darker, as well, if you want to control that more. If you have the ability to put a light up on a boom, or mount some hotshoe clamps on the ceiling for speedlights, then you can control the light from above, and won't need (or possibly even want) any bounce from the ceiling.

Since your room is long, you could go half/half. One end all gray, the other all white :-) (could even just refrain from painting one end at the beginning, use the bare drywall and compare with the grey--see how it goes.

Message edited by author 2010-08-02 17:06:43.

snaffles

Nikon D7100

08/02/2010 05:19:10 PM · #4

I had a very small spare room (8x9 with slanted ceiling and skylight) painted in flat matte white, 18% grey, and flat matte black in a teeny closet (hence its nickname, the Closet of Doom). I don't use the studio as much this time of year, and the black isn't as absorbent of light as black velour seems to be, but it still does a decent job for small stuff. Good luck!

08/03/2010 05:19:01 PM · #5

Thank you all for your advice!

chromeydome, that article by Zack Arias was one of my big motivators in setting up a better studio space for myself. I'm glad you picked up on the live workshop broadcast and remembered the comments about wall coloring.

I'm going to go with a medium gray on the ceiling and walls to help reduce the amount of light bouncing around while still avoiding something too dark and depressing. The far wall will be painted white for shooting against, but I'll also have a roll of gray seamless to cover it. I'll include an iPhone snapshot here in case you're interested.

08/03/2010 05:30:05 PM · #6

That is cool! And a cyc wall--mucho jealousioso over here :-)

One other thing he mentioned in that broadcast was that paint is cheaper than seamless paper. He used seamless all the time for a long time, but found that once he got busier, more clients, he was going thru seamless at a fast (& expensive) pace. He built a cyc, started repainting it when necessary ($5 for paint).

But I like the idea of grey walls and a roll of white seamless. Those white panels he notes for the floor also work very well (I have used them) and the keep your seamless looking good for longer--models stand on the panels instead of the paper, so you don't have to keep cutting off dirty sections.

I took a bit of grey seamless (but a grey card would work fine too) to Home Depot for matching. The good news was they matched it easily. The bad news was that they won't custom match a single can of paint--they said it was only for a 5 gallon can. The only paint they had was Behr in that size. I checked prices, found that 5 separate cans of behr would be the same price, so they did it in five separate cans, so I could keep the extra cans sealed completely until I need them.

08/03/2010 06:44:06 PM · #7

Originally posted by chromeydome:

But I like the idea of grey walls and a roll of white seamless. Those white panels he notes for the floor also work very well (I have used them) and the keep your seamless looking good for longer--models stand on the panels instead of the paper, so you don't have to keep cutting off dirty sections.

I was planning on the white panels for the floor and figured my seamless would last a lot longer if nobody stepped on it. I thought I might use the same idea for the gray seamless, but with standard hardboard painted to match. I good coat of semi-gloss paint will last a lot longer than paper and it will a little barrier between my subject and a possibly cold cement floor. But... the idea of all gray walls and white for the seamless may work better because then I'm only buying one color of paint instead of 2. I'll have another evening to think about it as I sand the last of the drywall and prepare to prime.

Thanks for the conversation! I'm a lot closer to a plan now and a lot more comfortable with the direction I'm headed.

08/03/2010 06:57:01 PM · #8

yea--I just had a thought--the back side of those white panels is plain, so you could paint that side gray. Also, the white panels are a little glossy. If the angle is right, they might "pick up" the color of the gray wall (if you shoot from a low enough angle) and a coat of clear gloss might enhance that.

But, yes, I agree that gray walls, white seamless with white boards is a good combination. A gray false floor to extend your cyc is helpful, too, if you can manage it. I mentioned the paint vs. seamless thing not to alter your plan at all, but just to note potential. I worked at a studio once that had about a dozen rolls of seamless in different colors (most of them uselessly specific, you would seldom use them). It occurred to me when Zack mentioned this that if I ever needed to, I could repaint a wall in another color, then back again, for far less money than buying a specific roll of seamless.

So, from the picture it looks like you are using your garage? I am interested because I have considered doing this (and, without my ever suggesting it, my wife suggested it last week!). I have a ton of cleaning out the garage before I can get that underway :( But I have some leftover gray paint from when I helped build a cyc wall at another studio, and I have been noodling on a cyc wall, too. My hot water heater and gas furnace are in my garage, so I have to keep that in mind too.

Message edited by author 2010-08-03 19:01:34.

Canon 12x IS USM (S3 IS built-in Lens) -- 36-432mm (35mm EQ)

08/03/2010 07:10:19 PM · #9

One more thing--well, that sounds like Columbo. Another thing: I rented one studio, and they had this clever thing done: they had pre-mounted stroboframe hot shoe mounts in strategic places. So, you can place them on the ceiling, walls at reasonable spacing, then install remotely triggered speedlight(s) where they might be needed (for a hair light, etc). That is also one of the things I will do, eventually....

GeneralE

Canon PowerShot S3 IS

08/03/2010 07:15:35 PM · #10

If you're talking about one wall, I like the earlier-mentioned idea of curtains -- cheap bleached muslin and some inexpensive hardware would give you flexibility if not reflectivity, but should be good as a white BG. If the cloth is cheap, you could also hang black and one or two colors, much like the scrims used in the theater, but horizontal instad of vertical.

You could also get a big piece of 1/8" plywood and paint one side with gloss enamel for when you need a reflecive surface.

zeuszen

Canon EOS-1Ds Mark II

Canon EF 24-105mm f/4.0L IS

08/03/2010 09:01:28 PM · #11

Originally posted by Nusbaum:

I just put the finishing touches on our space, larger than yours but also a converted garage/shop, which is intended as a gallery rather than a studio. It's all white and may give you a bit of a sense as to how white feels in a similar space.

Canon EF-S 10-22mm f/3.5-4.5 USM

08/05/2010 10:37:22 AM · #12

Thanks

zeuszen for sharing the photo of your gallery space. I really like what you have done with the garage conversion, there is definitely a level of refinement that I have not received in my studio space. The white wall should be perfect for a viewing space, but I think this confirms my fears that white wall in a small studio will have light bouncing everywhere. Now I just need to decide how dark I will need to go to combat the ambient reflection without starting to feel heavy and oppressive.

Message edited by author 2010-08-05 10:37:32.

ArnarGeir

Canon EOS-5D

Canon EF 50mm f/1.8 II

08/09/2010 12:48:05 PM · #13

i'd go for all black or a dark gray on all walls except the shooting wall. Paint that medium-light ( 18% ) gray

Darker walls reduce the bounce of light. Getting a pitch black background will be easy as pie with all black interiors. And shotting all white will be easier aswell since you will have no reflections from the background hit the walls and then your subject.

I currently work in a studio that is with black ceilings, 18% gray all walls and white wall behind me. I'm lucky I have huge space so bouncing is not a problem for me.

cowboy221977

Canon EOS-60D

08/09/2010 02:12:51 PM · #14

Definately pink with purple and orange polka-dots...Give it that 60's feel