THE POWER OF LOW KEY
Norman Phillips

My first venture into creating images was as a child when I used lead pencils. Using the full range of leads from HB through 7B, I was at a young age, able to create images that had an almost 3D appearance. Whether it was sheer talent or skilled observance I cannot be sure, but those drawings drew highly complementary reactions from all that viewed them. But there is no doubt that I developed a skill of seeing light early and translated it with my pencils.

All those drawings were done on white parchment paper and in fact were a reverse of what is, while not exclusively, now my medium of choice; low-key portrait photography. Those who have read my Lighting Techniques for High Key Portrait Photography will know that I am forever seeking ways to create images that have emotion, delicacy, charm and texture. In low key the techniques have many similarities but also have many different nuances that cannot be done in high key.

In high key our images have less potential drama and panache, though nonetheless just as beautiful. For instance, when creating a portrait that has powerful texture they almost look too much larger than life, but when we work in low key, using similar lighting styles we are able to create a feeling of depth by using light from angles that high key will not allow.
The old masters such as, Rembrandt, Gainsborough, Ruebens and Homer worked mostly in relatively low light situations with backgrounds that were less bright than our modern life situations. Consequently their work is much more low key than any other and their influence persists to this day. If we study their work and learn to observe the effects of light our portraits will be works of art and not just mundane camera images. The most interesting aspect of this is that despite low key being a more natural choice for most portrait photographers the use of lighting techniques is less imaginative and sometimes less than as skillful than it might be.
If you will study the works of the old masters you will note how they looked into the shadows for the critical detail that makes their portraits so exciting. I grant you that the old masters had a certain advantage; they could take their time and do makeovers if they felt the need. Yet modern photographers too frequently fail to look into the shadows for the detail in the same way that would make theirs so much more vital and lifelike. For many there is a set formula that prevents them from creating great images. That formula is one that dictates lights will always be in a virtual lock down and there is almost an identical light pattern on every subject they photograph. You could say that what they are producing is boring because almost everyone looks the same except they have different features. Subjects are not treated individually. Every one gets virtually the same treatment. The photographer is not practicing his craft to the ultimate degree. And to compound the problem props and backgrounds are often inappropriate or misused.

Oddly enough there are some who seek to create different images to the common renderings and they misuse the lights and instead of great images create almost bizarre light patterns that can make their subjects look less than attractive and draw your attention the lighting instead of the subject. Exciting lighting but not very good portraiture.

I would like to suggest that every portrait photographer should own a copy of Winslow Homer's "The Country School" and spend some time studying how this master observed all the nuances of the light from three windows. This masterpiece is a wonderful lesson in how to see light. The painting is primarily low key and demonstrates how we can create a wonderful feeling of depth when backgrounds provide the opportunity to wrap light around our subjects, something almost impossible to do in high key.

Two images that demonstrate this are those of the boy reading a book by window light primarily from the left of the camera and that of the boy reading by candlelight. Each of these images demonstrates a different technique. The technique where daylight was used shows how we can use natural light without the being able to reposition it and instead we have to adjust our subject to the light source.

In this image the couch the boy is seated in presents a low key background and consequently the effect of the light is much more dramatic and there is a great feeling of depth. Note how the boy has been slightly angled so that the light from the window at the left strikes his book and reflects up into his face. The window behind and to his left, (right of the camera), creates a slight separation and gives you a look into the shadows.

The boy reading by candlelight presents a totally different challenge. It immediately required me to recognize what candlelight is and does. First I lit the candle and observed its effect on the boy's face. If my lighting was to create the impression that the portrait was by only candlelight then my lighting pattern had to be very precise.

Candlelight does not wrap like soft light. It is primarily specula and creates deep shadows where the facial structure is not in the direct line of the light it emits. Yet, when we are left with only candlelight, given a little time we will look into the shadows for a little detail. This effect was accomplished by using a slightly diffused snoot as the main light, which was placed slightly behind the plane of the boy's profile and behind the candle. This position mocked the effect of the light from the candle. Next a soft white umbrella was placed directly in front of the boy but behind the candle and produced just enough light to render some skin tone to the camera side of the face.

Both of these portraits have earned recognition in competition, each earning Best of Show ribbons. I like to think that this because I have learned my craft and gleaned the rewards for my dedication to the study and understanding of low key lighting. Wholly apart from the ribbons and the kudos both images provide me with great satisfaction. It is what low key does for my emotional reactions. It excites my senses in a way that even my best high key work does not.
The low key portraits such as illustrates this article are always going to create the wow factor. Creating the wow factor in our images is important if we want our potential clientele to want our portraiture. If you create the mundane and the common style of low key work you are not going to draw the client who has the ability to spend good money. My own success in drawing the upscale client is all about the ability to create images that are exciting and stir the emotions. It is about creating desire that grows into want. When clients compare the work of other photographers in my market they will always see the difference. Great lighting will make your portraits talk to their viewers.

Don't just shoot in low key, shoot with great lighting and see your market grow. And your bottom line.

There are 227 days to get ready for the SWPP Convention and Trade Show at The Hilton London Metropole Hotel ...
which starts on Tuesday 8th January 2013

What our members say
Why I like the Societies: It's a friendly society with plenty of help, encouragement and advice. - Steve B
Find out more about the Societies here

Convention testimonials I really enjoyed the Convention down at Hammersmith! Brilliant. Even my train carriage was full of SWPP members all going to the same place! Sharon
Find out more about the Convention here

Photo Quote: Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks. - Henri Cartier-Bresson

THE POWER OF LOW KEY Norman Phillips

THE POWER OF LOW KEY
Norman Phillips