How do you make high and low key photograph?

[SAShruby]

Hi,

I'm gathering some info about how to make high and low key photographs outdoor and indoor. What lights, exposure and printing method I need to use to succeed.

Can you post some pictures as well?

Cheers,

 

[Ryuji]

Those are important factors, but what you really need to think first is the desired effect. It depends on the subject matter. Then background and lighting. I think it's best if you go to a local library or bookstore to look up these terms to learn basics and also example photos.

 

[SAShruby]

I know generally how to do it, I'm looking for interesting tricks...

 

[Gay Larson]

I'm not sure I understand your question. Are you asking how to photograph a high contrast scene outdoors? If so, there are a lot of variables that make it hard to answer. I agree that there is a lot of information at the library on metering and photographing such subjects. We certainly want to help you but need a bit more information.

 

[SAShruby]

Hi Gay,

I'll rephrase the question: How would you expose film and print for desired high or low key final photograph?... In another words, would I need to overexpose or underexpose film (toe and shoulder exposure) or there is a printing technique that will allow you to make high low picture from any negative...for indoor and outdoor...

Cheers,

 

[Michel Hardy-Vallée]

High Key / Low Key are more terms related to the composition of tones, than to a specific development technique. If you have a white on white subject, that's high key. If you have a black on black, that's low key.

In B&W, provided that you have proper exposure, high key scenes and low key scene will print more or less the same.

What you might want to do is think about your metering technique in a situation that is not inherently high/low key. For example, if you are in a room lit by a bright window only, and someone is between your camera and the light source (i.e. a backlit portrait situation) you could achieve a low key effect by deliberately underexposing the shadow area, leaving only the brightest highlights as white. You could also achieve a high key effect by overexposing the same area: the person's face will end up near white, and the background will be pure white.

In Zonie terms: you have a scene before you that has a very great subject brightness ratio. If you put the brightest part of the scene on Zone VIII, most of the picture will fall below Zone III, and thus leave you with large areas of featureless, solid shadows. If you put instead the less bright part of the scene on Zone VI or VII, you will have an entire scene above Zone V, thus high key.

 

[SAShruby]

High Key / Low Key are more terms related to the composition of tones, than to a specific development technique. If you have a white on white subject, that's high key. If you have a black on black, that's low key.

IMHO, high key/low key is related to a final image. It involves usually lighning composition to obtain desired low overall contrast but high local contrast. For an outdoor situation, if you do not have portable lights, it is different. I think it needs to make exposure adjustment to get the desired effect.

Still, do I need to make one negative for High and another one for low one? If not, which one would be better... Underexposure (toe compression) or overexposure (shoulder compression)?

 

[Michel Hardy-Vallée]

IMHO, high key/low key is related to a final image. It involves usually lighning composition to obtain desired low overall contrast but high local contrast. For an outdoor situation, if you do not have portable lights, it is different. I think it needs to make exposure adjustment to get the desired effect.

Still, do I need to make one negative for High and another one for low one? If not, which one would be better... Underexposure (toe compression) or overexposure (shoulder compression)?

You know, why don't you try what you already have in mind? Perhaps that would give you a better indication of where to go because you seem to already have an idea of what you want.

Insofar as negatives go: You want to use the toe portion to compress the shadows, i.e. to lose information from your original scene. That's the best way to ensure that your shadows are pitch black. For most other contrast manipulations, I would stick with paper grade changes.

 

[Jim Noel]

High key photographs require subject matter which contains little if any important information below middle gray. Most of the subject matter should be 2 or more stops brighter than middle gray. then it is a simple matter of exposing and developing the negative so that the densities are correctly placed on the film curve.
Printing then requires little manipulation, but does require printing densities to their appropriate place on the print curve.
Tying to print a "Normal" negative as a high key print will look like what it is, a weak attempt.
Basically the reverse holds true for low key prints.

The first step is knowing your EI and development time for the film you are using.

 

[smieglitz]

Hi Gay,

I'll rephrase the question: How would you expose film and print for desired high or low key final photograph?... In another words, would I need to overexpose or underexpose film (toe and shoulder exposure) or there is a printing technique that will allow you to make high low picture from any negative...for indoor and outdoor...

Cheers,

If you overexpose or underexpose you have a mistake. The key is related to the subject and lighting conditions. If you have the correct subject and lighting and then expose normally and develop correctly it should come out OK. You want to control the contrast with lighting, not film exposure or development. Exposure and development manipulations are done to compensate for lighting contrast deficiencies or subject failure, and not done to create them.

Imagine photographing a fair-skinned bride in a white dress on the snow. Now imagine what you'd get by any combination of over- or under- exposure and/or development. None of those combinations is going to be pleasing. Control the light and expose normally. Ditto with a dark-skinned brunette in black gown against a dark background.

Which is not to say you may wish to blow the background out into white or sink it into total black with lighting for effect in the studio.

Joe