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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.


Tip on using a wall-mounted roller-type window shade to form a shooting table background for occasional use.
CAMERA & DARKROOM Dec 1991 (v.13#12) pg. 13

Tip on painting your own inexpensive backdrop for portraits.
CAMERA & DARKROOM Apr 1992 (v.14#4) pg. 18

Tip on using floor-to-ceiling plant poles to support photo backdrops.
CAMERA & DARKROOM Nov 1992 (v.14#11) pg. 8

Portrait tips from a pro. Making your own backgrounds from canvas and paint.
CAMERA & DARKROOM May 1993 (v.15#5) pg. 64

Tip on using closet dowel and three light stands to support a backdrop.
CAMERA & DARKROOM May 1994 (v.16#5) pg. 68

Clamps, poles, supports and other hardware needed to suspend cameras and props are discussed.
CAMERA 35 Nov 1976 (v.20#8) pg. 22

Building for the silver screen. How set builders construct a new "house" of lightweight removable panels and then make it appear to be run down and ramshackled.
FINE HOMEBUILDING #56 Oct-Nov 1989 pg. 48

Product profile of the "Exposure Booth" table top studio. Includes a chart of proper exposure times for various films when using the booth in both the rear projection and standard mode.
INDUSTRIAL PHOTOGRAPHY Jul 1980 (v.29#7) pg. 30

Build the Image Tree: a modular graphic display system for the studio. Simple wood and hardboard framework displays 4 illustrations and/or rear-screen projected images. Est. cost: $60.
INDUSTRIAL PHOTOGRAPHY Mar 1981 (v.30#3) pg. 28

Suggestions on using the "Mini Ultimate" front projection system with a variety of cameras and layouts.
INDUSTRIAL PHOTOGRAPHY Mar 1983 (v.32#3) pg. 26

Turning a profit. Ways to make your in-house video studio a cost recovery center.
INDUSTRIAL PHOTOGRAPHY Feb 1986 (v.35#2) pg. 34

Backing up your shoot. Explore the range of available background materials for enhanced creativity and professional control. A look at paper, laminates and specialty materials for use as photo backgrounds.
INDUSTRIAL PHOTOGRAPHY Mar 1986 (v.35#3) pg. 26
Added Info INDUSTRIAL PHOTOGRAPHY Aug 1986 (v.35#8) pg. 18

The chameleon tabletop. Transform ordinary black countertop material into a universal surface for tabletop photography. How a sheet of high-gloss black plastic can become any color desired with proper lighting.
INDUSTRIAL PHOTOGRAPHY Feb 1988 (v.37#2) pg. 36

Setting the scene. Creating your photographic reality. Tips on building sets for still photography, film production or video production.
INDUSTRIAL PHOTOGRAPHY Jul 1990 (v.39#7) pg. 26

The hows and whys of location permits.
INDUSTRIAL PHOTOGRAPHY Aug 1992 (v.41#8) pg. 28

Convert closet poles into low-cost seamless background paper holders.
MODERN PHOTOGRAPHY Feb 1970 (v.34#2) pg. 12

Make backgrounds count. Samples of photos taken with a brick wall background illustrates how the wall can be used or lost.
MODERN PHOTOGRAPHY Oct 1975 (v.39#10) pg. 70

Tip: Make a background stand for short rolls of seamless paper.
MODERN PHOTOGRAPHY Jun 1977 (v.41#6) pg. 185

Tip: Use a piece of black or white polyester cloth as a portable backdrop which will not show any wrinkles.
MODERN PHOTOGRAPHY Feb 1978 (v.42#2) pg. 101

Build a small, portable stage to provide a background for photographing small objects "on location".
MODERN PHOTOGRAPHY Sep 1983 (v.47#9) pg. 127

Modular, multi-purpose studio furniture builds easily, sets up and knocks down fast.
MODERN PHOTOGRAPHY Oct 1986 (v.50#10) pg. 72

Make a gadget for holding backgrounds, diffusers, reflectors, etc. from aluminum.
MODERN PHOTOGRAPHY Jan 1987 (v.51#1) pg. 10

Tip: Put subject in front of an open doorway to achieve a dark background.
MODERN PHOTOGRAPHY Jan 1987 (v.51#1) pg. 20

Tip: Attach masking tape to the bottoms of shoes to keep background paper clean.
MODERN PHOTOGRAPHY Jan 1987 (v.51#1) pg. 31

Tip: Small tabletop (9"x9") for a tripod is used when photographing a small object.
MODERN PHOTOGRAPHY Jan 1987 (v.51#1) pg. 32

Build a small "sweep table" from PVC plastic pipe and translucent white plastic.
MODERN PHOTOGRAPHY Nov 1987 (v.51#11) pg. 57

Portable backdrop for portraits or still life photography is made from PVC pipe and velour.
MODERN PHOTOGRAPHY Aug 1988 (v.52#8) pg. 68

Make different colored backdrops for your studio from bed sheets.
MODERN PHOTOGRAPHY Nov 1988 (v.52#11) pg. 90

Rear projection photography. How to set up a simple rear-projection screen outfit using a slide projector. How to determine film, exposure and a look at typical applications.
PHOTOGRAPHIC Feb 1978 (v.6#10) pg. 32

How to construct telescoping poles to support seamless paper backdrops, diffusing sheets, lights, and other equipment. Made of two pieces of wood, held together with metal collars. Uses holes drilled in both pieces, and tapered dowels, to hold the poles open to the desired length.
PHOTOGRAPHIC Mar 1978 (v.6#11) pg. 35

How to construct a background-paper holder. Collapsible unit is built of plumbing pipe and wood and holds a 9-ft. wide roll of seamless background paper.
PHOTOGRAPHIC Sep 1978 (v.7#5) pg. 93

How to build a background projector to make it possible to change portrait backgrounds in seconds. Uses a Fresnel lens installed in a cardboard box with a simple light source. Used to project patterns cut from paper (called "cookies").
PHOTOGRAPHIC Feb 1979 (v.7#10) pg. 39

Magic with props. Tips on incorporating props into your still photos. Silhouettes, images cut from paper, model trains, and other objects can be incorporated into your pictures. Placing the prop at the correct distance from the lens in relation to the main subject allows the size ratio to be controlled.
PHOTOGRAPHIC Mar 1979 (v.7#11) pg. 52

Tip: How to attach other fabric to the frame of the Port-A-Screen portable projection screen. Use it for backgrounds, controlling lighting, etc.
PHOTOGRAPHIC Jul 1979 (v.8#3) pg. 17

How to make something from nothing. How to create an instant indoor set which looks like the outdoors. Artificial materials used to simulate grass, water, mountains, etc.
PHOTOGRAPHIC Jan 1981 (v.9#9) pg. 24

Fun with illusions. Small plywood boxes and scale-model rooms can be used as props in creating illusions of size and space.
PHOTOGRAPHIC Apr 1981 (v.9#12) pg. 29

Build a versatile shooting table from metal conduit. Has capabilities for Plexiglas or glass top, rear projection, front projection, in-camera masking, shadowless/seamless applications, etc. Est. cost: $20.
PHOTOGRAPHIC Nov 1981 (v.10#7) pg. 51

Custom backgrounds. Paint your own backdrops on white canvas window shades. Apply the paint with sponges. Make a simple holder to support the shade from a light stand.
PHOTOGRAPHIC Dec 1981 (v.10#8) pg. 30

The portable studio. Basic components include two lighting umbrellas on stands with electronic flash units attached, seamless backdrop paper and supports, and miscellaneous equipment.
PHOTOGRAPHIC Feb 1982 (v.10#10) pg. 50

How to build a versatile triple-duty camera stand from ordinary 2x4 lumber. The stand also doubles as a pair of sturdy light stands or as an overhead bridge for lights, background drapes, seamless paper, etc. Est. cost: $12.
PHOTOGRAPHIC Mar 1982 (v.10#11) pg. 87

How to build your own inexpensive and portable support stand to hold seamless background paper. Built from wood and metal pipe.
PHOTOGRAPHIC May 1982 (v.11#1) pg. 71

The anywhere studio. Tips on improvising a shooting setup on the nearest driveway, patio, rooftop, etc.
PHOTOGRAPHIC Feb 1983 (v.11#10) pg. 31

Build an inexpensive studio fixture (frame) to support small products for macro photography. Built mostly of wood. Est. cost: $30.
PHOTOGRAPHIC Sep 1984 (v.13#5) pg. 70

Collins on basics. Using black backgrounds more effectively.
PHOTOGRAPHIC Nov 1984 (v.13#7) pg. 44

Fooling the camera. How to build a "country kitchen" set in your own living room.
PHOTOGRAPHIC Dec 1984 (v.13#8) pg. 42

Dial-a-backdrop. Scrambled color-TV images make bold backgrounds.
PHOTOGRAPHIC Mar 1985 (v.13#11) pg. 54

Gidgets and gadgets. A look at digital extenders (clamps, magnets, etc.) for short-handed photographers.
PHOTOGRAPHIC Jun 1985 (v.14#2) pg. 48

Simple rear-projection techniques.
PHOTOGRAPHIC Aug 1985 (v.14#4) pg. 32

Tips on using metallic Mylar as a background material for portraits.
PHOTOGRAPHIC Sep 1985 (v.14#5) pg. 28

Studio backgrounds. Both homemade and readymade systems are explored.
PHOTOGRAPHIC Feb 1986 (v.14#10) pg. 48

How to build inexpensive photographic background sets including walls, floor, folding screens, etc. Built from ordinary lumber and building panels.
PHOTOGRAPHIC Mar 1986 (v.14#11) pg. 62

Colored gels, a practical and economical way to create colored backgrounds.
PHOTOGRAPHIC Jul 1986 (v.15#3) pg. 36

Graduated backgrounds. Tips on using color-graduated backgrounds in still-life photos.
PHOTOGRAPHIC Apr 1987 (v.15#12) pg. 60

Comp book. Illustration set shot. Build a set comprising at least two walls, place two characters in the set, and include authentic-looking lighting.
PHOTOGRAPHIC May 1988 (v.17#1) pg. 62

Comp book. Rear-projection still life. Photographing props incorporating a rear-projected image to complete the theme.
PHOTOGRAPHIC Oct 1988 (v.17#6) pg. 88

Comp book. Building a set with two walls. Learn how to create an impossible cut-away perspective with a false wall.
PHOTOGRAPHIC Jan 1989 (v.17#9) pg. 54

Dry-Ice Fogger. How to make the moodiest prop of all. Construction guidelines, safety tips, and lighting techniques.
PHOTOGRAPHIC Feb 1989 (v.17#10) pg. 46

Tips on other uses for foam-core board in addition to print mounting.
PHOTOGRAPHIC Apr 1989 (v.17#12) pg. 8

Comp book. Photographing an object on a complementary background. Choosing a background that does not distract from the subject, as well as being aesthetically pleasing in itself.
PHOTOGRAPHIC Jul 1989 (v.18#3) pg. 48

Comp book. Creating a striking image in which the background attains as much visual importance as the subject.
PHOTOGRAPHIC Nov 1989 (v.18#7) pg. 98

Comp book. Large-set construction. How the choice of camera and film size help determine the dimensions for an indoor set.
PHOTOGRAPHIC May 1990 (v.19#1) pg. 106

Custom muslin backgrounds. Advice on their selection and use.
PHOTOGRAPHIC May 1992 (v.21#1) pg. 110

The lighting stall. Setting up and using this basic studio device which consists of two side reflecting panels, an adjustable table, and a medium-sized softbox. Use the stall for shooting both tabletop arangements and head & shoulder portraits.
PHOTOGRAPHIC Jul 1993 (v.22#3) pg. 72

A round up of photographic background materials that provide the photographer with exciting choices.
PHOTOMETHODS Mar 1985 (v.28#3) pg. 21

Prop it up. The ins and outs of using prop houses.
PHOTOMETHODS Nov 1987 (v.30#11) pg. 43

Background projection. Is it viable for commercial photography? A look at front and rear projection techniques, equipment, general tips for usage, etc.
PHOTOMETHODS Jan 1988 (v.31#1) pg. 27

How to take better Christmas pictures by setting up your backgrounds for maximum impact.
POPULAR MECHANICS Dec 1966 (v.126#6) pg. 146

Portable backdrop for tabletop photos. Combination carrying case and support for window shades to be used as photo backdrops.
POPULAR MECHANICS Dec 1968 (v.130#6) pg. 187

Posing stool and armrest table keep a subject comfortable during a long portrait taking session. Stool adjusts up or down to accommodate subject. Add a top to the armrest table and you have a platform for small-object photography.
POPULAR MECHANICS Nov 1974 (v.142#5) pg. 64

Tip: Hang seamless paper from ceiling using a dowel and hooks. Store in closet when not needed.
POPULAR MECHANICS Aug 1977 (v.148#2) pg. 53

The apartment studio. Tips on having a living room serve as a photo studio.
POPULAR PHOTOGRAPHY Feb 1966 (v.58#2) pg. 80

Hanging background for portraits and still-life made of seamless paper in widths up to 9 ft.
POPULAR PHOTOGRAPHY Jan 1969 (v.64#1) pg. 12

The Hattersley Class: Make backgrounds work. Tips on making backgrounds contribute to the photo, not detract.
POPULAR PHOTOGRAPHY Feb 1972 (v.70#2) pg. 102

How to turn a living room into a portrait studio by careful selection of inexpensive lightng equipment and simple backgrounds.
POPULAR PHOTOGRAPHY Oct 1973 (v.73#4) pg. 8

Everything you need to know to open your own old-time photo studio.
POPULAR PHOTOGRAPHY Nov 1976 (v.79#5) pg. 66

How to make professional-quality pictures in your home photo studio. Tips on lighting equipment and simple backgrounds.
POPULAR PHOTOGRAPHY Apr 1978 (v.82#4) pg. 34

Paint-can lighting system. Sturdy poles for supporting lights, backdrops, etc. are made by installing lengths of electrical conduit in 1-gallon and 2-gallon paint cans filled with concrete.
POPULAR PHOTOGRAPHY Dec 1980 (v.87#6) pg. 134

Using a beamsplitter to enhance pictures through front projection.
POPULAR PHOTOGRAPHY May 1981 (v.88#5) pg. 13

Bored with seamless-paper background? Here are a variety of creative alternatives from painted scenery to Christmas-tree lights.
POPULAR PHOTOGRAPHY Nov 1982 (v.89#11) pg. 90

Build this small-object stage. Poster board on frame serves as seamless background. Est. cost: $10.
POPULAR PHOTOGRAPHY Oct 1984 (v.91#10) pg. 78

Both lighting and background stands are made from PVC pipe fittings.
POPULAR PHOTOGRAPHY Sep 1988 (v.95#9) pg. 122

Build an inexpensive and efficient ceiling mounted background support.
POPULAR PHOTOGRAPHY Jan 1989 (v.96#1) pg. 46

Tip: Uses for an old projection screen including a portrait backdrop, reflecting panel and copy stand.
POPULAR PHOTOGRAPHY Aug 1989 (v.96#8) pg. 30

Build a rack to store seamless-paper backgrounds in an upright (vertical) position.
POPULAR PHOTOGRAPHY May 1990 (v.97#5) pg. 22

Ceiling-mount for rolls of seamless paper is made from copper pipe, eye bolts, and coat-hanger wire.
POPULAR PHOTOGRAPHY May 1990 (v.97#5) pg. 23

Tip on using pickup truck gun rack brackets to store large rolls of seamless background paper.
POPULAR PHOTOGRAPHY Apr 1992 (v.99#4) pg. 56

Tip: A piece of aluminum tube and two light stands form a support for seamless paper.
POPULAR SCIENCE May 1982 (v.220#5) pg. 167

Studio portrait park. Tips on creating natural outdoor studios for portraits. Many different outdoor setting themes can be constructed in an ordinary backyard.
PROFESSIONAL PHOTOGRAPHER #2133 Feb 1990 (v.117) pg. 40

Tip on using an old aluminum boat (painted two different colors) as a prop when taking unique outdoor portraits.
PROFESSIONAL PHOTOGRAPHER #2134 Mar 1990 (v.117) pg. 46

Studio special effects. Three simple ideas produce profitable portraits. (1) Roll-away staircase. (2) Realistic-looking fireplace backdrop. (3) Using a special spray and a spotlight to create "sunbeams".
PROFESSIONAL PHOTOGRAPHER #2138 Jul 1990 (v.117) pg. 80

Unique backgrounds. Tips on creating one-of-a-kind painted backgrounds to complement the person being photographed.
PROFESSIONAL PHOTOGRAPHER #2142 Nov 1990 (v.117) pg. 24

Budget studio sets. Three inventive photographers offer innovative techniques creating distinctive backgrounds for professional studios. (1) Background projector. (2) Skyhook prop-suspension system. (3) Low-cost background lighting system.
PROFESSIONAL PHOTOGRAPHER #2142 Nov 1990 (v.117) pg. 35

High-tech scenery. Tips on using projected backgrounds. Making your own instant backgrounds using Polaroid slide films.
PROFESSIONAL PHOTOGRAPHER #2142 Nov 1990 (v.117) pg. 40

How to select portrait backgrounds. Tips from a professional photographer on surveying customers before purchasing studio backdrops.
PROFESSIONAL PHOTOGRAPHER #2142 Nov 1990 (v.117) pg. 44

Props for tots. Charming sets for endearing children's photography.
PROFESSIONAL PHOTOGRAPHER #2189 Oct 1994 (v.121) pg. 42

Buyer's guide to photographic backgrounds. Major companies and their offerings. Part 1.
RANGEFINDER Jan 1994 (v.43#1) pg. 10

Buyer's guide to photographic backgrounds. Major companies and their offerings. Part 2.
RANGEFINDER Feb 1994 (v.43#2) pg. 24

Buyer's guide to photographic backgrounds. Major companies and their offerings. Part 3.
RANGEFINDER Apr 1994 (v.43#4) pg. 30

How to make a stowaway, inexpensive mini-studio that will allow you to obtain first rate professional results when shooting small setups, product shots and other static subjects.
SHUTTERBUG #263 Aug 1992 (v.21#10) pg. 60

Make your own studio window. Cut a window-shaped mask out of poster board. Shooting a flash through the mask will cast a shadow on the background that will look like illumination from a real window.
SHUTTERBUG #263 Aug 1992 (v.21#10) pg. 82

Fabric store background. Tips on making studio backdrops from fabric yard goods.
SHUTTERBUG #275 Aug 1993 (v.22#10) pg. 26

Up front with backgrounds. Advice on selection of just the right background for a photograph. Looks at seamless paper, laminates, glass, etc.
SHUTTERBUG #287 Aug 1994 (v.23#10) pg. 38

How to build a lightweight portable shooting table/stand that is big enough and versatile enough to be worth the effort. A collapsible wooden stand is fitted with a 4x8-ft. translucent flexible plastic backdrop. Est. cost: $50.
SHUTTERBUG #307 Apr 1996 (v.25#6) pg. 162

Build your own studio without walls. Build a portable outdoor studio from plastic vinyl tarpaulin, steel electrical conduit, and connectors used to create frames using the conduit.
SHUTTERBUG #319 Apr 1997 (v.26#6) pg. 182

How to make simple backgrounds using paper, fabric, plastic, paint, dye, ... etc.
SHUTTERBUG #329 Feb 1998 (v.27#4) pg. 108

Small spaces. Tips on utilizing a limited-size studio.
SHUTTERBUG #329 Feb 1998 (v.27#4) pg. 174

Behind the image. Be creative when selecting backgrounds.
SHUTTERBUG #336 Sep 1998 (v.27#11) pg. 98

Build a studio worktable. Convert a Sears Craftsman steel workbench base into a roll-around tabletop studio and storage unit.
SHUTTERBUG #336 Sep 1998 (v.27#11) pg. 134

Shoot like a pro in your basement, bedroom or spare room. Tips on setting up a makeshift studio.
SHUTTERBUG #348 Sep 1999 (v.28#11) pg. 20

To imitate a star-lit sky, put a piece of black Bristol board (with pinholes punched in it) in front of bright movie lights. To turn dots of light into stars, tape window screen across the lens hood.
SUPER-8 FILMAKER Jan-Feb 1980 (v.8#1) pg. 12

Build the "Star Gate" machine to create psychedelic patterns of light similar to the "2001: A Space Odyssey" star gate scene.
SUPER-8 FILMAKER Mar-Apr 1980 (v.8#2) pg. 35

Tip: An endless, moving star field is made from a popcorn container, a turntable and a light bulb.
SUPER-8 FILMAKER Jun 1980 (v.8#4) pg. 12

How to build a miniature moon base and a spaceship taking off and landing.
SUPER-8 FILMAKER Jun 1980 (v.8#4) pg. 14

Create planets out of glass light covers (globes) and oil paints.
SUPER-8 FILMAKER Jul-Aug 1980 (v.8#5) pg. 16

Create inexpensive landscape sets. Glue three or four sheets of plain white paper together and, while wet, form into landscape desired. Paint when dry.
SUPER-8 FILMAKER Jul-Aug 1980 (v.8#5) pg. 16

Create monsterous encounters and strange optical effects with cut-out photographs. Includes the use of photographs as backdrops, props, actors, in wipes, etc.
SUPER-8 FILMAKER Jul-Aug 1980 (v.8#5) pg. 40

Save food containers to use for model making.
SUPER-8 FILMAKER Sep-Oct 1980 (v.8#6) pg. 13

How to build a miniature city, and film it in the midst of night battle.
SUPER-8 FILMAKER Dec 1980 (v.8#8) pg. 44

Use tin foil, sand, and spray adhesive to make space rock substitutes.
SUPER-8 FILMAKER Jan-Feb 1981 (v.9#1) pg. 13

How to plan and create effective, yet inexpensive, sets.
SUPER-8 FILMAKER Jul-Aug 1981 (v.9#5) pg. 25

Video detective. Advice on scouting a location for filming outside the studio.
VIDEOMAKER Mar 1996 (v.10#9) pg. 121

Setting up a low-cost video production studio.
VIDEOMAKER May 1996 (v.10#11) pg. 112

Television sets. Some basic principels of set design. How to use action figures and model making for set design. Tips for creating illusions with set design.
VIDEOMAKER Sep 1996 (v.11#3) pg. 62

Shooting videos "on location." Advice on getting permission, a film permit, releases and liability insurance.
VIDEOMAKER Sep 1996 (v.11#3) pg. 116

The joy of sets. How to use inexpensive props and clever framing to customize an environment for videomaking. The fundamental principles of set building summarized and advice for beginners on how to apply them.
VIDEOMAKER Oct 1996 (v.11#4) pg. 16

Paper roll system for photography. A ceiling mounted chain drive system makes it easy to raise or lower seamless paper backdrops. Build it to accommodate as many rolls as needed. Est. cost: $40 (4 roll model).
WORKBENCH Jan-Feb 1982 (v.38#1) pg. 96