high-key backgrounds without texture. Photographers who use this style ex-
clusively tell themselves (and clients) that this is an artistic choice, ensuring that
the background doesn’t compete with the subject for the viewer’s attention.
While this is a legitimate point, I’ve also noticed these same photographers often
have a camera room the size of a large closet—so there may be more than artis-
tic decisions at work here. It’s not a bad style, but plain black or white backdrops
shouldn’t be youronlystyle.
The second philosophy of background selection is that well-planned back-
grounds (and foregrounds) help to enhance the sense of depth and realism in
the final portrait. Using this approach requires more space and more planning
than the minimalist approach described above, but the variety of looks it allows
you to create in your work makes it well worth the effort.
Which style you choose will depend on what your client wants in their im-
ages. I’ve found that I need to usebothstyles of background selection to fulfill
the needs and meet the desires of my clients.Coordinating with the Image Design.
The first aspect of background selection we will discuss is the coordination of
backgrounds to everything else in the image—especially the clothing.
Contrast.When you coordinate the background to the clothing of the
client, you first must consider contrast. Our eyes are not drawn to light or dark.
They are drawn to contrast—the smallest area that is in contrast to the largestBACKGROUND SELECTION 29Foreground elements don’t have to be built
into the set—they can also be personalized
props.