Most photos consist of a balance between bright and dark tones, creating what we typically consider to be “proper exposure.” In proper exposure, there should be ample detail in all areas of the image, no matter how dark or how bright. At least, that’s what we should do when trying to capture a balanced exposure.
Balance, while important to most photographic situations, is not always best for a scene. There are times where the image demands a shift towards one end of the spectrum or another. This brings us to two popular styles of photography that walk the line between overexposed and underexposed, where shadows or highlights are prominent, and contrast is low. The look in question is referred to as high-key and low-key photography.
These are images that fall into the extreme values of the tonal range, with those leaning towards over exposure being called “high key” and those that are underexposed called “low-key.” In technical terms, a high-key images primarily consist of lighter tones with little to no shadow tones. On the opposite side of the spectrum sits a low-key image, which primarily consists of dark tones.
High-Key
A high-key image is one in which highlights are bright and prominent and where the shadows are effectively eliminated. The key word here is “effectively,” as there will need to be contrast, and as a result, shadows in order to differentiate our subject from the surrounding scene. The most common approach is to put our subject against a light/white background.
For the students of art history, a high-key photo provides a painterly feel reminiscence of the classical Japanese ink painting style known as “sumi-e,” which aimed to capture the essence of the scene through minimalism and the use of negative space.
How we achieve this look is subject to some variation. In nature, nothing beats an overcast sky. Wildlife photographers especially prefer to shoot in these conditions, as the white sky and low-contrast lighting are perfect for creating high-key photographs. In the studio, shooting against a large soft box or an evenly lit light-colored background will produce a similar effect.
High-Key vs. High Contrast
Much can be said on the relation between contrast and both high and low-key photographs. One certainly relies on contrast more than the other, and there are some that believe that a high-contrast image and a high-key image are two very different things. As with many aspects of photography, things aren’t so clear cut. The strict definition of both restricts the use of the opposite tonal value, meaning a high-key images should have no true black values, but we do need shadows for some form of contrast.
By definition, contrast is the state of differing strikingly from something else in juxtaposition. Without it, there would be no difference between the subject and background, making for a rather dull or visually uninteresting photograph. So, how would we define a high-key photograph? Simply put, it is an image containing mostly bright tones but anchored by a sufficient contrast between the backdrop and the main subject.
Low-Key
On the opposite end of the spectrum sits the low-key photograph. A low-key image is one in which the highlights have been effectively eliminated. Again, we use the word “effectively” here. There’s no denying that high contrast plays a role here. In fact, contrast is the key to a successful low-key photograph, and a few highlights are essential to creating a powerful image in this style.
Unlike high-key photography, dark backgrounds don’t present themselves often, nor do they benefit from low contrast lighting. Understanding light and which conditions suit this style best is paramount to making effective high key images.
Sharp, high contrast side lighting or back lighting is the best approach. This allows the background to fall into shade while the subject is partially illuminated. Provided we have a dark background. In the studio, we can simply unroll some black seamless paper and call it a day, but if relying on naturally occurring backgrounds, we’ll need to be vigilant.
Other Tips
With an understanding of both low and high-key photography in concept, we can begin to put it into practice. While there are unique settings for each style that we touched upon above, there are some features that apply to both high and low-key photography. Let’s look at a few.
Metering
When shooting either high- or low-key images, our focus is on the subject. For that reason, we recommend using spot or center weighted metering modes to focus the area to the subject. Note that subject size will vary, so one mode may be better in one case and not in the next. In many cameras, the spot is linked to the primary focus point, so it can be moved around the frame freely.
As mentioned in our intro to metering, this is just a guide. There’s a chance that even when shooting in spot metering, that the background will be picked up and the settings can change. This is why recommend shooting in manual. It’s up to you as the photographer to know when to trust the meter, and when not to. Mirrorless cameras have made this much easier with the advent of the EVF, which shows us our exposure before we press the shutter.
White Balance
With highlights, and often white tones, so prominent in this style of photography, we want to make sure that our white balance is set accurately. Auto white balance, often shortened to “AWB” is generally reliable and should be used when lighting conditions are rapidly changing, though if shooting in consistent lighting, always use a dedicated mode like direct sunlight or shade. Get creative and experiment, as sometimes the “wrong” mode can produce better results.
Raw shooters benefit from the ability to fine-tune this setting in post, though we recommend not getting too comfortable with the act of “fixing” things in post. Post-processing software like Adobe Camera RAW provides a white balance slider, though this is meant primarily for minor adjustments or creative control. It is always more rewarding, and accurate, to capture things correctly in camera.
Highlight Warnings
It’s important, especially in low-key images, to protect your highlights. Once you add some dramatic lighting, then it’s easy to get so focused on capturing that contrast that you let some things get out of hand. While checking your image in post is always an option, not all of us get a second opportunity to try again.
There is a setting in most cameras that can aid us in this area. All brands offer some form of highlight warning. Brand to brand, there are a few different versions of this feature, with most occurring after the image is taken, which is less than ideal for wildlife or sports shooters. In these cameras, we’ll rely on the histogram.
Some brands even have a live highlight warning system, like Sony’s Zebra Pattern Function, known simply as “zebras,” which can be dialed in to various levels and preview blown out highlights before you press the shutter button. Both OM System and Fujifilm offer similar features, though with varying levels of control and fine-tuning.
Put It to Practice
When lighting is flat or dramatic, put these styles to the test. Whether you’re a landscape shooter or wedding photographer, high-key and low-key images can add a bit of drama and some variety to your portfolio. With the pointers listed above, experiment with your gear and settings until you get the results that you want.
As artists, we’re always learning. Never discount the benefits of a new tool or skill in your arsenal and always be open to new ways of doing things. If you’d like to learn more about exposure and getting creative with your photography, check out our other guides and articles, check out the B&H Explora page!
