A Big White Wall
No Color Casts
If you shoot anything other than black and white, you'll appreciate that there's not a giant blue or green or red thing bouncing odd color around.
White Is Flexible
In reality, white's not always really white. Depending on how much light you dump on it or allow to hit it a white wall can be just about any shade of gray. A white wall can be other colors thru the aid of some gels, or adjusting white balance!
Saves On Seamless
If you don't need a full length shot but you need a nice plain white (or gray) background it saves a lot of time. No need to break out the seamless. Of course we've got a bunch of that too. Need help getting it lit evenly - just ask.
TIP: Ever see marks or spots on the wall? Just back your subject off the wall two or three feet and open up your aperture a stop. It all just goes away!
A built In Giant Reflector
Need a giant white reflector for fill or a big broad main light? Just point a strobe at this giant white wall and you turn it into your light source! Some of the side effects of this are: faster light falloff, "softer light", and infinite adjustability based distance and angle to the wall.
It Saves A Lot Of Space
Take all those things I just talked about and they add up to something you might not have thought about. Even big studios like the Baltimore space can get pretty jammed up once you start throwing in seamless, giant reflectors, four or five lighting stands and then you need to shoot a full lenght shot on say a short tele. Eliminating just one thing you might need like a big reflector opens up some major possiblilities in terms of space.
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