where there’s smoke there’s forum fire
I checked the forums and did not see anything on this topic.... Does anyone use High Key lighting options and when you do, what are you seeking to achieve? I have been looking at a lot of high key type images of recent and I am wondering what people think of it.....
(If you have thoughts on the Low Key lighting feel free to add comments as well, I will not be offended or thinking that you are trying to highjack the thread)
Bob, I think a lot of HDR work is aimed towards reducing the lighting ratio (but this doesn't meet the traditional definition of High Key). I don't set up lights for high key illumination, but I will post process a single image in HDR Efex Pro to get a high key effect. I'll sometimes use it because I like the effect, to allow shadows to fill, or to smooth skin on faces. Technically its not high key I suppose since the background may not be white (or very light), but I was interested in your question so I thought I'd toss in a comment. When you say "High Key lighting options", is there a camera setting for that? or are you talking about studio setups? What specifically are you referring to? Just curious...
@Eric...at least in the D5000 and I assume the others that have scene modes there is a high key and low key mode. I haven't shot it, and I can't remember the sample image...maybe black with the background all blown out and vice versa on the low key...silhouette basically. I could have those backwards.
Ah, okay. I have no experience with in-camera high key settings. I'm assuming this a jpeg option, is that correct?
Eric, I am thinking of High Key options in a very generic aspect.... I have seen in camera options as noted by tcole, but also folks who are doing a "high key" process option (or perhaps in some cases the shot is just blown out).
I suppose that when I think of High Key, I think back to film and the way the light has over powered the entire image. I am thinking of a bright scene, bright daylight where the image seems to be a bit washed out. A snow scene on a bright day or a beach scene where the light over takes the photograph. It could even be a flash scene in which the light overpowers and washs out the image if you will. Does that make sense?
How wonderful to hear the words, "High Key" In my vocabulary, this is an area without a horizon line. Continuous background. We shot everything from pantyhose to automobiles in the "High Key Area". Lighting was everything from soft directional light with umbrellas to very carefully placed spots, sometimes as many as ten on a piece to obtain a perfect product shot.
My favorite was the use of umbrellas with strobes, the models would do the work if properly directed. The advantage of a high key area is the isolation of the product. A very simplistic approach but extremely effective.
Now, I have no idea if this is what the modern term means, but it certainly perked my interest. And, interestingly enough, I will be doing some high key shots sometime in the future as I just happen to have about six of these umbrella set ups and will get to this in the fall...watch on PAD.
Check out http://framednetwork.com/ and watch the "Lit Up" series with Joel Grimes. Its at 16 episodes so far and each one is a valuable insight into creative lighting that Im sure everyone here working with strobes, lights, modifiers and reflectors can appreciate. All the other shows on the site are worth a look if you've never been there.
I was going to add something last night, but I was on my phone and that is usually more work then it is worth. The OP might have been talking about lighting techniques that Squamish suggests. I have seen several different articles in pop photography with lighting that can give it this effect...sometimes by point lights at the camera and then also have strobes focused on the subject. I don't have the setup to do these things, but it looks interesting if you had the time, patience and equipment.
I checked out the HDR lighting at Framed Network. And I think it is interesting. We used to shoot portraits with the 500 watt tungsten bulbs the same way. "Steady, hold it.....click.....great". The LED soft boxes are very nice. Cool lights, easy to use.
I will be as kind as I can possibly be. But, the thought in my mind is from one of the great Master Craftsman, Gerhard Bakker, who in 1965 said simply, "Tried so hard to be different, forgot to be good."
I believe the benefit from viewing the episodes is to generate a point from which one can begin the creative process themselves. Shooting ISO 800 at wide open, 1/30 or 1/60 sec seems to me to be such an enormous step backward, it baffles me, except it may be to sell the LED lights. And these are not quite yet ready for the big time in shooting models, IMO.
The complete lack of spontaneous expression when a model has to "hold" an expression, takes us back over 50 years. There are hundreds of muscles in the facial musculature and when a model has to "hold" the face changes.
So, after blowing off my opinion, do I have an idea. Well, the sensor in the D4 has more dynamic range than any previously used as far as I know. And, by utilizing this capability, I think one can grasp a greater range of tones in the photo without all the exposures and having the model be perfectly still. The real way to shoot these photos might be to utilize what in modern terms are called light modifiers (we called them cardboard and cheesecloth long ago) and set up multiple flash heads, each one providing the light desired so as to obtain the tonal range in one shot. Ansel Adams did this long ago.
But, the real benefit is to get us all to think. And it is from our thinking we will produce new photo ideas.
I agree with msmoto (as usual). I think LEDs are fine for static objects where you can afford the long shutter exposures. Hot lights are just that - hot. When a lot of light is needed I think strobes and modeling lights are still the way to go. What's nice with digital is that you don't need to play with Polaroids and can get instant feedback on the lighting and exposure, so a continuous light source (LED or Hot) doesn't really offer that much of an advantage over strobes. I think if I were setting up a for some High Key work I'd use strobes too.
Great thread.
Here is one article I was talking about. If you didn't have the background strobes I think it might give an effect you wanted. Or if you wanted the background and the object silhouetted you could light the background and not the subject...Or at least I think that would work.
http://www.popphoto.com/how-to/2012/02/tips-pro-de-clutter-background-using-strobes
I pulled this off Wiki -
High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons, since early film and television did not deal well with high contrast ratios, but now is used to suggest an upbeat mood. It is often used in sitcoms and comedies. High-key lighting is usually quite homogeneous and free from dark shadows. The terminology comes from the key light (main light).[citation needed]
In the 1950s and 1960s, high-key lighting was achieved through multiple light sources lighting a scene—usually using three fixtures per person (left, right, and central) —which resulted in a uniform lighting pattern with very little modeling. Nowadays, multiple hot light sources are substituted by much more efficient fluorescent soft lights which provide a similar effect.
The advantage to high-key lighting is that it doesn't require adjustment for each scene which allows the production to complete the shooting in hours instead of days. The primary drawback is that high-key lighting fails to add meaning or drama by lighting certain parts more prominently than others.
Most recently, shows with bigger budgets moved away from high-key lighting by using lighting set-ups different from the standard three-point lighting. Part of the reason for this is the advent of new lighting fixtures which are easier to use and quicker to set up. Another reason is the growing sophistication of the audience for TV programs and the need to differentiate.
The term "high-key" has found its way from cinema into more widespread usage, for example referring to an event that requires much organization or is subject to a great deal of publicity.[
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