Color to paint a small studio?

[mknittle]

I may have access to a 12' X12' building that is a blank slate Just four walls a roof and floor. It needs work but is bigger than I've got now. If I go for it it will need interior paint. I would like to paint it to take as much advantage of the colors as possible.

[Manfred M]

Neutral colours; nice way of saying anything between pure black and pure white for sure. Anything else will add a colour cast to the light that reflects off the walls or ceilings; but frankly as long as the colours are close to neutral, it will probably work out okay.

Bright, reflective surfaces reflect light. That is more of a problem in a smaller studio, as your subject and camera will be closer to the walls and ceiling; adding stray light into the equation. Yes, you can handle that by flagging off these issues, but the less you have to do this, the easier it will be on you.

Dark, mat walls will absorb light, but this is not to everyone's taste. I've shot in a couple of pro studios; both had 16 - 20ft high black ceilings and black walls. These were an absolute pleasure to work in; I've booked in some more time in a few weeks to practice my studio portraiture techniques.

[JR1]

Er..........

White

[SimonsPictures]

white is quite a depressing colour to spend a lot of time in, colours affect our mood, e.g. they use bright pink in some jails to calm angry people but if you're not angry and are in there too long it makes you angry (apparently). So ANY colour will have an effect to some degree.

I'd plumb for a medium toned neutral colour: there are some very nice ones I think which still inspire creativity and which aren't full of nasties from companies like Earthborn

[mknittle]

I am leaning toward a dark mat color. It seems to me that the light being absorbed would be easier to deal with than too much reflected light.

[mknittle]

Neutral colours; nice way of saying anything between pure black and pure white for sure. Anything else will add a colour cast to the light that reflects off the walls or ceilings; but frankly as long as the colours are close to neutral, it will probably work out okay.

Bright, reflective surfaces reflect light. That is more of a problem in a smaller studio, as your subject and camera will be closer to the walls and ceiling; adding stray light into the equation. Yes, you can handle that by flagging off these issues, but the less you have to do this, the easier it will be on you.

Dark, mat walls will absorb light, but this is not to everyone's taste. I've shot in a couple of pro studios; both had 16 - 20ft high black ceilings and black walls. These were an absolute pleasure to work in; I've booked in some more time in a few weeks to practice my studio portraiture techniques.

Thanks Manfred,

[pnodrog]

3 walls matt white and 1 wall black or dark grey.

However it will depend entirely on the sort of photography you want to do and whether you have some backdrops available and reflectors.

[William W]

Color to paint a small studio? . . .

A general answer: Matt Black - all walls and ceilings. Non reflective dark floor.

Studio 'house lights' at least 6 Stops below typical Studio Flash Output.

Specific answer may be different (probably not though, except for the "backdrop wall") if you describe the typical SUBJECT(s) and the LIGHTING that you'll be using.

WW

[IzzieK]

If I have 4 walls to play around with, with paint, I'd do a graduated (gradient style in between to show subtle change between the colours) and start with white on one side, beige next, greyish next moving towards black. The ceiling will have to be white. Just an opinion if the room is to be used for photography unless otherwise you want to use backdrops instead. Yuck??? I know but paint is just that -- paint. You can always redo it later on but in the meantime, you have instant backdrops without bothering to fiddle with one.

[mknittle]

A general answer: Matt Black - all walls and ceilings. Non reflective dark floor.

Studio 'house lights' at least 6 Stops below typical Studio Flash Output.

Specific answer may be different (probably not though, except for the "backdrop wall") if you describe the typical SUBJECT(s) and the LIGHTING that you'll be using.

WW

Good info thanks Bill,
I don't have any lighting yet (other than a Speedlight. and some work lights from home depot. ) I don't have room for any more than that until now.
And for subjects I am like a cat, What ever catches my eye I will play with.

things of this sort lately.

[mknittle]

If I have 4 walls to play around with, with paint, I'd do a graduated (gradient style in between to show subtle change between the colours) and start with white on one side, beige next, greyish next moving towards black. The ceiling will have to be white. Just an opinion if the room is to be used for photography unless otherwise you want to use backdrops instead. Yuck??? I know but paint is just that -- paint. You can always redo it later on but in the meantime, you have instant backdrops without bothering to fiddle with one.

Backdrops don't have to be the generic boring off the shelf stuff lots of interesting things could be used. I have seen dyed wrinkled sheets to window blinds. the thrift store can be your friend.

[rpcrowe]

Since you have only a speedlight to play with, I would paint the walls a flat white and also the ceiling. That way you could take advantage of bouncing your speed light (use a reflector/diffuser to modify the light). I would be sure to be able to control or eliminate any window lighting.

If I were shooting with studio lights, I would paint the room a dark matte gray - almost black. Again, I would want to control/eliminate any outside light. When shooting with studio strobes, I use the modeling lights as my general illumination.

I would if this was a permanent studio, install a roller for seemless paper background material.

[Mike Buckley]

things of this sort lately.

When photographing shiny round objects that will reflect practically everything in the room, such as that object will do, go with Bill's suggestion of using matte black paint on all surfaces to eliminate unwanted reflections.

[Texas Dave]

I'm set up in an old storage room with unpainted wooden shelving and a suspended ceiling that is missing tiles. It's horrible when I'm trying to shoot reflective objects. I want to keep a white ceiling to bounce light but not sure I want the dark walls. Manfred, you have me wondering now.

By the way, I'm in the same boat Mark, we're about to have some remodel funds and I get to turn our storage room into a real studio.

[William W]

. . . I don't have any lighting yet (other than a Speedlight. and some work lights from home depot. ) I don't have room for any more than that until now.
And for subjects I am like a cat, What ever catches my eye I will play with. . .

OK

Thanks for the added information.

I'd now suggest one wall in matt (emphasis on matt) WHITE and that wall can be used as your white b/drop. I'd also consider half of the floor out from that wall in white too, though that could be a bit fiddly keeping clean and easier to drop some white paper if a white base necessary.

***

In a small studio space the concerns regarding stray light reflections affecting: light texture; reflections seen in the Subject; Subject Modelling; Colour Balance; and Exposure are all exacerbated because the walls and ceiling are much closer to the light source and also closer to the Subject and that is the reason I was emphatic about matt black. The larger the studio the less these concerns; but any Lighting Studio Stage is typically Matt Black for those reasons and then the Props and Backdrops are built into that framework.

But I think that one wall in matt white will not cause too much problem if you shoot directly away from it when you do not require a white backdrop, In the (rare) circumstance, when shooting toward the black wall and you get bounce from that back white wall - simply drape a black curtain across. Yes thrift stores are great. I mostly use off cuts and roll ends from a large haberdashery retailer.

WW

[Mike Buckley]

simply drape a black curtain across. Yes thrift stores are great. I mostly use off cuts and roll ends from a large haberdashery retailer.

That's what I did to create the black "walls" of my makeshift studio.

[mknittle]

I'm set up in an old storage room with unpainted wooden shelving and a suspended ceiling that is missing tiles. It's horrible when I'm trying to shoot reflective objects. I want to keep a white ceiling to bounce light but not sure I want the dark walls. Manfred, you have me wondering now.

By the way, I'm in the same boat Mark, we're about to have some remodel funds and I get to turn our storage room into a real studio.

That's great Dave, It will be nice to have a place to work that doesn't have obstructions or people walking around banging into things. One of my biggest problems is now I only have a limited time to work on a project Because it is always dead square in the way.

[mknittle]

OK

Thanks for the added information.

I'd now suggest one wall in matt (emphasis on matt) WHITE and that wall can be used as your white b/drop. I'd also consider half of the floor out from that wall in white too, though that could be a bit fiddly keeping clean and easier to drop some white paper if a white base necessary.

***

In a small studio space the concerns regarding stray light reflections affecting: light texture; reflections seen in the Subject; Subject Modelling; Colour Balance; and Exposure are all exacerbated because the walls and ceiling are much closer to the light source and also closer to the Subject and that is the reason I was emphatic about matt black. The larger the studio the less these concerns; but any Lighting Studio Stage is typically Matt Black for those reasons and then the Props and Backdrops are built into that framework.

But I think that one wall in matt white will not cause too much problem if you shoot directly away from it when you do not require a white backdrop, In the (rare) circumstance, when shooting toward the black wall and you get bounce from that back white wall - simply drape a black curtain across. Yes thrift stores are great. I mostly use off cuts and roll ends from a large haberdashery retailer.

WW

Great idea Bill, I can see where the one white wall could be useful.

[mknittle]

Since you have only a speedlight to play with, I would paint the walls a flat white and also the ceiling. That way you could take advantage of bouncing your speed light (use a reflector/diffuser to modify the light). I would be sure to be able to control or eliminate any window lighting.

If I were shooting with studio lights, I would paint the room a dark matte gray - almost black. Again, I would want to control/eliminate any outside light. When shooting with studio strobes, I use the modeling lights as my general illumination.

I would if this was a permanent studio, install a roller for seemless paper background material.

Once I get some room I plan on more lighting. and a lock on the door to keep my wife out when I am not around
If I don't lock it she will fill it with boxes of junkAnd fast!

[William W]

That's what I did to create the black "walls" of my makeshift studio.

Yes.

A few years ago I needed to provide a space very quickly for a student to shoot some work - time and location were the struggle and we couldn't get any studio time. So I defaulted to my previous, like many of us do or have done, refitting my lounge room (which is reasonably big - bigger than my double garage and workshop which also has been used in an emergency) by removing all the furniture and simply hanging black drapes.

Works fine. Stacking furniture in another room and totally blocking window light, is a real pain, though.

WW