First attempt at High Key (Page 2): I suppose more light can be used on darker clothes in order to reduce the contrast instead of changing the outfit altogether.

IR Jim Loc: St. Louis

I suppose more light can be used on darker clothes in order to reduce the contrast instead of changing the outfit altogether.

CaptainC Loc: Colorado, south of Denver

Actually, white on white is fine for high key. It is, however, extremely important to get the exposure correct. I have found that one to one and a half stops difference from background to subject works really well - with the subject being the lesser of the two. Here it looks as though you are close to a half stop or even less difference. High key without a flash meter is certainly possible, but unless you know the flash output settings and camera settings from a previous setup, it is just trial and error.

Here is a one-stop difference. White on white.

silva was right about one thing - a high key does not HAVE to be blown out white. That is one look, however.

hlmichel Loc: New Hope, Minnesota

CaptainC wrote:

Actually, white on white is fine for high key. It ... (show quote)

One question for clarification--I'm sure you've covered it before so apologies.
When doing this, does the reflected light from the background contribute to the light on the model?

CaptainC Loc: Colorado, south of Denver

hlmichel wrote:

One question for clarification--I'm sure you've covered it before so apologies.
When doing this, does the reflected light from the background contribute to the light on the model?

Let's look at it a different way: With all the lights firing, you want the background to meter one to one and a half stops brighter than the subject. Take that literally and don't over-think it. :-)

You can get a fine image at less difference as some of the BG light will bloom around the edge of the subject. If you like that look, then fine.

Nightsky Loc: Augusta, GA USA

Thanks for the replies and critiques everyone. I'm going to schedule a reshoot and see if we can't get it right!

Baz Loc: Peterborough UK

tsilva wrote:

you people seem to have no idea at all of what a high key photo is. a high key photo does not mean a blown out background

and no, AA people or any dark skinned/haired people or anyone wearing dark clothes is a high key photo

I think I have finally grown fedup with the misinformation on this site and the childish moderators in the "critique" section.

am thinking it's time to take leave of here

Bye Diddums.

kubota king Loc: NW , Pa.

I'm just glad I'm not a photographer that shoots models . It just seems that a lot of members on here can't agree with what is right or wrong for me to ever try no matter who posted the photo. And then you get the members that get pissed no matter what the subject is . Wow , I can't wait to see what tomorrow brings . All I can say to the members that get pissed , this is why there are so many companies that make cars . No one co. is right or wrong , but we all have the right to choose

hlmichel Loc: New Hope, Minnesota

kubota king wrote:

I'm just glad I'm not a photographer that shoots models . It just seems that a lot of members on here can't agree with what is right or wrong for me to ever try no matter who posted the photo.

It's not just the members. I've seen it all over the net.

It seems that everyone agrees on how to achieve the classic lighting patterns, but toss in something like high key and everyone starts dividing into camps.

Too many of us(I'm a huge offender) learning single techniques from youtube gurus rather than learning lighting.

trc Loc: Logan, OH

hlmichel wrote:

It's not just the members. I've seen it all over the net.

It seems that everyone agrees on how to achieve the classic lighting patterns, but toss in something like high key and everyone starts dividing into camps.

Too many of us(I'm a huge offender) learning single techniques from youtube gurus rather than learning lighting.

Michel,

You hit the nail on he head! Learn lighting and then photography becomes second nature; well, maybe not quite 'second nature', but much more understandable, especially when shooting different scenarios demanding, choosing, or wanting different effects with different subjects. :-)

Tom

trc Loc: Logan, OH

CaptainC wrote:

Let's look at it a different way: With all the lights firing, you want the background to meter one to one and a half stops brighter than the subject. Take that literally and don't over-think it. :-)

You can get a fine image at less difference as some of the BG light will bloom around the edge of the subject. If you like that look, then fine.

Hey Cliff,

Will the excess light (extra stop or two brighter) on the white background ever produce a halo effect and become noticeable or a problem or concern on someone wearing a white outfit/clothing? Thank you.

Best Regards,
Tom

Nightsky Loc: Augusta, GA USA

Cliff, you wrote about metering yesterday, and I did meter the foreground (f/10). How does one meter the background when the background is a giant diffused umbrella pointed at the camera?

CaptainC Loc: Colorado, south of Denver

trc wrote:

Hey Cliff,

Will the excess light (extra stop or two brighter) on the white background ever produce a halo effect and become noticeable or a problem or concern on someone wearing a white outfit/clothing? Thank you.

Best Regards,
Tom

This is just my experience: If you too much light coming in, yes the BG will bloom around and make for indistinct edges on light clothing. So if you meter the BG at f/11, the subject at f/8 and then shoot at f/4, that will happen. OR if you have the BG two or more stops brighter, that will likely happen.

This is really simple : keep the difference between the BG and the subject at 1 to 1 1/2 stops and it works.

Just to be clear, when I say meter, I mean an incident meter reading at the plane of the BG and at the plane of the subject.

trc Loc: Logan, OH

Nightsky wrote:

Cliff, you wrote about metering yesterday, and I did meter the foreground (f/10). How does one meter the background when the background is a giant diffused umbrella pointed at the camera?

Nightsky,

Is there a light coming out from the large diffused umbrella (parabolic umbrella ?) pointing toward the subject which is also pointing toward the camera? Or, is the light source pointing toward the interior of the umbrella and then bouncing off the umbrella and going out (reflecting) back toward the subject and the camera?

How are you getting a white background with no light source (i.e., a monolight or studio light) physically showing in the background of the image?

Normally, you would just put your light meter against your background when firing off the light source hitting your background and take the reading. I guess I am somewhat confused by your set-up and/or question - Hmmmm?

Tom

trc Loc: Logan, OH

CaptainC wrote:

This is just my experience: If you too much light ... (show quote)

Cliff,

Thank you. It seems like the 1 to 1 1/2 stops is the magical works for all setting - that is great and very easy to remember.

As usual, you are the Pro when it comes to Portraiture, and you are much appreciated! Thanks again, Cliff.

Best Regards,
Tom

Nightsky Loc: Augusta, GA USA

trc wrote:

Nightsky, br br Is there a light coming out from ... (show quote)

The background is an 84" Buff PLM Silver Umbrella with a diffusion cover on it. The diffusion cover acts as the background The light is right behind the model - her body is hiding the stand and monolight.