One of the best things an up and coming photographer can do, in my view, is to really get a feel for just one element in his/her working style. This goes for camera, film, lighting, etc.
The element I'd like to focus on for now is background. When you're trying to get to know how a background reacts to the lighting you choose for your subjects, it's helpful to keep that background consistent, so you can more readily see the changes that occur.
What really helped me during the beginning stages of my photography was to settle on one natural muslin background. At first, I tried to save money every time I would buy equipment, since photography seemed so expensive. I tried buying paint dropcloths from the home depot for $19, borrowing bolts of fabric from a friend in the upholstery business, and on and on. But, they were always too narrow to work with comfortably, or (the painter's dropcloths) had a very noticeable seam down the middle of the cloth (which in my opinion makes for a very distracting photograph). So I quickly learned that I might as well spend a little money on a simple but good photographic background.
I proceeded to buy a muslin from Backdrop Outlet. I don't know if they're still around (that's how long I've had this background!), but there are many companies that offer a plain, unpainted muslin for a pretty good price. Check the back pages of photo magazines or do a search on the net. You should be able to get a 10x12 foot size, or larger, for no more than $100. It would be a very well-spent hundred bucks, too. These backgrounds have no seams and are usually very durable--they will last for years. I'm still using the first muslin I ever bought.
By using one background for most of your shooting, at least in the beginning stages of your progress, you will learn, little by little, how to make the background look the way you want it to by varying your lighting.
Let's assume you use just one light for your photography--that is, one light illuminating your subject and everything else in the photograph. (By the way, I often use only one light in my photographs of kids.) This one light will also spill onto your background in varying degrees. By using a consistent background, like a plain muslin, you'll learn that the closer you put your subject to the background, the lighter the background will appear in your final image. Conversely, you'll also see that the further away you put your subject from the background, the darker the background will turn out. This knowledge can be useful in getting just the look you are after regarding background brightness.
One final comment on muslin backgrounds: If you can, leave the muslin hanging either in the area that you photograph, or somewhere out of the way between photo sessions. This will let the muslin completely free itself from wrinkles. I leave mine hanging all the time, and when I am ready for a location shoot, I stuff it randomly in a bag and head off to my shoot. I unpack it as soon as I arrive at the location to give it time to smoothen out. (With an occasional washing--I take mine to those triple load washers available at laundromats--the muslin will get softer and softer, adding to the smooth look.) Don't leave a muslin crunched up in a bag or folded neatly, unless you are willing to steam it smooth (which can be a little bit of a pain). In my opinion, wrinkles and seams in muslins are not always appropriate to certain subject matter. Of course, you may feel differently. If so, just make sure the wrinkles go with your subject matter.
It is my view that to really learn something well, you must keep certain variables constant. And a constant background can really help you make forward strides in your photography.
Till next time!
This article written by Eddie Bonfigli.........www.eddiebonfigli.com