BetterPhoto Q&A
Category: New Answers

HELP!! HIGH KEY LIGHTING

It was recommended to me to have my backdrop light point across the backdrop instead of directly on it in order to avoid having a round hot spot on it. So, here's my lighting set up.

I have two monolights and an SB800 with a Nikon D70s.

I set up one light at f11.2 on the right side of the backdrop with the light facing directly across the backdrop. My subject is three feet from the backdrop. My second light is set up 45 degrees aimed at my subject but slightly tilted at the backdrop--it's metered to f8. There is about 1/2 stop drop off across the backdrop from my right side monolight. My camera flash is set to 1/8 power at 5.6. Aperature on camera 5.6. Also, I have a gobo placed to the side of the backdrop light to avoid spillage on my subject.

When I'm taking the photos I'm moving from side to side to test different angles. The results have been bad. My backdrop is still too muddy on the left and too bright on the right. Is there a way to do do high key with only two lights and a flash?

This is driving me crazy. I've been trying to do this forever.

Thanks for your help.

To love this question, log in above
September 15, 2006

Hope that helps!!! Try it, post some examples so we can see the results and we can go from there! :)

Happy shooting! :)

To love this comment, log in above
September 15, 2006

As you know, the high key effect consists mainly of light tones. Generally the background is nearly pure white. So let’s first let’s concentrate on how to construct and light the background.

The white background effect usually starts with a white background material however you can use a less than pure white, it’s just more difficult. The main trick is lighting the background uniformly. It’s hard to explain how fast light falls off i.e. weakens with distance and non-uniformity results. To reduce fall off, the background lamp should be place as far as possible from the background. Distance achieves uniformity. Its OK to use two background lamps one left and one right, again distance yields uniformity. If the area is big enough you can back light the background material. Distance, lamp to background, is both friend and foe. Far gains uniformity but you suffer light loss. Given modern software fixes, better to light evenly and get a uniform non-white. You can fix and enhance with the common tools available in your graphics software.

Lighting the subject:
Shadows on the background are your adversary however, high key requires shadows for modeling that are achieved by placing the main light high to simulate the sun. Usually the main is set off to one side, this achieves the necessary modeling shadows. You don’t want these shadows to be too harsh so you soften them with a fill light.

Fill light:
It’s a major blunder to fail to understand that you always fill from the cameras prospective. This means placing the fill at camera height near an imagined line stretched between camera lens and subject. Fill is placed just far enough off this line to avoid it getting into the picture. Fill can also be placed above and behind the camera but not too high. In any event, move fill up down or side to side at will just far enough to avoid casting equipment shadows on background or on the subject.

Lighting ratio:
High key requires a lighting ratio not to exceed 3:1. This is achieved by making sure the fill light arrives at the subject, subordinate to the main. It should be ½ the main’s intensity or stated in f/stops, 1 f stop less brilliant. Measure each for intensity independently with the all others off. Again, set the main one stop brighter than the fill. If unable to meter, use lamps of equal brilliance. Measure the main to subject distance in feet. Place fill 1.4 times more distant. Example main at 8 feet fill at 11 feet. This achieves the needed 3:1 ratio. For high key less than 3:1 is acceptable but not 2:1 which too flat. Two equal lamps placed at the same distance = 2:1 which is a no no for high key.

Exposure is base on a reading taken with only the fill illuminating the subject.

I know some will find fault with this account. That’s OK. Maybe you should just chuckle at my piece and pay it no mind.
Good luck,

Alan Marcus
ammarcus@earthlink.net

To love this comment, log in above
September 17, 2006