Digital Photographer

SHOOT LOW KEY

Use dark tones to your advantage for moody, atmospheri­c landscape scenes

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Low-key lighting has been favoured for its dramatic style in photograph­y and cinema for decades. Closely associated with film noir, low-key images focus viewer attention on one area of the frame by limiting contextual detail. They introduce a sense of isolation and limit the feeling that the scene continues beyond the edges of the frame.

Low-key effects produce strong contrast, with a prevalence of deep shadows. This can be ideal for landscapes, where we want to emphasise intense light sources and highlight detail in textured surfaces. With care, the low-key formula can be used to produce a theatrical look to create the appearance of a set or a highly controlled environmen­t, which is unusual in a natural location.

As photograph­ers, our job is to control where our viewers should look. We take a busy scene and find the elements that are most photogenic, placing these centre stage in our compositio­n. Low-key lighting moderates the dominance of individual zones and objects in the frame. By using strong lighting we can throw less-important areas into shadow for both practical and artistic purposes.

To do this we need a deep understand­ing of exposure measuremen­t and the way in which our camera interprets light in different scenes. Low-key images have a bias towards shadows, so we should enhance how darker tones are rendered, being mindful of overexposu­re. Overexposu­re in this context doesn’t mean loss of highlight detail, but rather a lack of dense blacks caused by the camera pulling detail out of the deepest shadow areas. This would produce a scene with reduced drama and an awkward lack of contrast.

 ??  ?? SHIMMERING
Exposing the shot to the left to hold dark shadows, photograph­er Justin Minns knew this shot of Saxtead Green Mill, bathed in morning sidelight, would look good in monotone
Right
SHIMMERING Exposing the shot to the left to hold dark shadows, photograph­er Justin Minns knew this shot of Saxtead Green Mill, bathed in morning sidelight, would look good in monotone Right
 ??  ?? LIGHT DIRECTION
In images like this one the light is striking the landscape at an angle, picking out texture and shape without lifting too many shadows – similar to some traditiona­l low-key lighting ratios
Below
LIGHT DIRECTION In images like this one the light is striking the landscape at an angle, picking out texture and shape without lifting too many shadows – similar to some traditiona­l low-key lighting ratios Below
 ?? © JUSTIN MINNS ?? LOW KEY HISTOGRAM
© JUSTIN MINNS LOW KEY HISTOGRAM

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