How to make high key photos

What is High Key Photography?

High key photography uses unnaturally bright lighting to blow out most or all harsh shadows in an image. High key methods were originally developed as a solution to screens that couldn’t properly display high contrast ratios, but has developed into more of a stylistic choice.
High key images usually convey a positive or upbeat tone. This method is perfect for a subject that is funny, lighthearted or beautiful.

You see high key used regularly for model photography, flowers and other subjects that are relatively feminine in nature. Another area perfect for high key is product photography. Practically speaking, the bright nature of the photo really highlights the product and can make for some great attention-grabbing contrast. Psychologically speaking, a product shown on white tends to suggest that it is high quality or upscale in nature.

The Nikon image above probably reminds you of a number of ads you’ve seen for premium products like the iPhone. Apple is fond of using high-key artwork and photography to show off their line of super-stylish electronic devices.
The opposite of high key is of course low key. Instead of eliminating shadows as in high key photography, low key photographers utilize dark scenes and heavy contrast to convey a sense of drama or foreboding.

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Lighting Equipment

Effectively shooting indoors in high key is not easy if you don’t have the proper equipment (outdoors on a bright day can be easier and cheaper). If you want to achieve that studio, white background look, ideally you’ll have some studio lighting on hand.

Getting started with studio lighting can be quite expensive. Many starter kits are available from a range of manufacturers. Depending on the quality and amount of equipment you want, you can expect to spend anywhere from $200-$1700 and beyond.
Lighting conversations can quickly become complicated, but I’ll try to keep it simple here. Basically, you have two primary options: continuous lighting or flash. Within continuous lighting you can choose from either tungsten (hot lights) or fluorescent (cool lights.) Tungsten lights tend to run really hot and produce warmer looking light while fluorescent lights run fairly cool by comparison and produce something more comparable to daylight (source).
The problem with both of these is that they are fairly low-powered, which can make it difficult to pull off high key photography if your lights are good enough. Alternatively, flashes are more versatile and powerful and are therefore the only choice for many studio photographers.
Ultimately, it’s quite difficult to get a good feel for a lighting kit until you get your hands on it. The best you can do if you’re purchasing online is to do your research and read plenty of reviews. Below are a few lower-end affordable options to begin your search with.

CowboyStudio 330 Watt Three Light Kit: $290.99

• 3 Monolight Studio Flash/Strobes
• 3 Softboxes
• 1 Boom Kit w/Sandbag
• 1 24″ Photo Tent

Smith-Victor FL-130 3 Light Studio Flash Kit: $338.95

• 3 Monolight Kits
• 2 Black-Backed White Umbrellas Are Included
• 3 Aluminum Stands
• 1 Hard Carrying Case

Britek Flash Light Kit with Boom – total kit 576 wt: $534.99

• 2 HS-600 Flash Lights 168 w/s
• 2 PS-200 Flash Light s120w/s
• 4 Modeling Lamps for HS,PS Series
• 4 Reflectors
• 4 Modeling Lamps for HS,PS Series
• 2 32″ Silver Photo Umbrellas
• a lot more…

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Lighting Setup

Once you’ve got some decent lights, you’ll need to set up your studio environment. Don’t mistake the information below as the single right way to shoot high key photography. There are tons of places and ways to get a good high key shot, this is just to give you a good idea of one of the most popular methods of achieving the effect.
Ideally you’ll have at least three lights, four if you’ve got the equipment. You’ll also need a seamless white backdrop of some kind. Many professionals mount a 9 ft wide roll of paper high on stands, then roll it down across the background and onto the floor of the shot. If you’re on a budget or in a hurry you can try using a sheet (watch for wrinkles) or an empty wall.
Position your subject in the center of the backdrop and make sure to keep the shot’s frame within the bounds of the paper so no gaps are showing. Next setup a key light and a fill light. The key light is off to one side and is your main source of light on the subject. Make sure the lighting on the subject is fairly flat. As strange as that sounds, remember that you’re not going for contrast here but brightness throughout.
Having your key light to one side will likely produce harsh shadows on the opposite side of the subject. Here you setup a less bright fill light to smooth out some of those areas. Shooting with only these two lights will produce a gray, shadow-filled background. Since we’re going for solid white, you need to eliminate these shadows by using one or two lights angled and pointed at your backdrop.

The key here is experimentation. Don’t worry if you end up with a lot of bad shots at first, it can literally take hours to figure out a decent light setup if you’re new to studio flash photography.
One thing to watch out for is the light bouncing off your backdrop, which can cause strange halos around your subject. At the same time, you want to make sure you’re blowing out the backdrop enough to get a fairly solid white. Deborah Wolfe from Studio On a Shoestring recommends that you keep your background lights at least one f-stop over your subject lighting and meter the lighting for your subject to produce an overall setting of f/11.

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Camera Settings

To evaluate camera settings for a given technique, I always like to take a look at a real example and inspect what the photographer did to achieve the effect.

This photo was taken with a Sony DSLR-A350, with an exposure of 0.2 sec (1/5), an aperture of f/5.6, an ISO of 100, and an exposure bias of +2 EV. Notice that all of these settings are aimed at letting in lots of light.
The 1/5 sec exposure is quite long and would normally produce a blurry photo if not for a couple of factors. First, the subject isn’t moving. Fortunately, flowers are fairly immobile and tend to stay pretty still while you’re shooting (barring any wind). Unfortunately, you don’t have the same luxury with people.
Secondly, the camera was probably mounted on a tripod. With such a long exposure you’ll want to use a tripod whenever possible to avoid camera shake. Finally, the flash actually serves to freeze the subject in place so that even if you’re shooting a person, handheld with a long exposure, it’s a fairly easy to get a crisp image.
The 5.6 aperture is neither really high nor really low. The shot looks like it would’ve been taken down below f/3 but because it’s so close the DOF looks fairly shallow even above 5.0, which allows for more light to be let in without sacrificing a nice blurry background.
Finally, the 100 ISO tells us there was already a lot of available light in the seen and the exposure bias is pumping up the brightness even further.
What you can learn from this is that you’re definitely going to want to shoot at 100-200 ISO in a bright environment with a f-stop that’s high enough to give you a really bright scene. Feel free to shoot way up at f/11 or higher if you’re not aiming for a blurry background and don’t have strong enough lights to fill the area well. You’ll also want to lengthen your exposure to brighten the scene as much as you can without blowing out the highlights or causing blur from camera shake or model movement.

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Conclusion

To sum up, high key photography seeks to eliminate harsh shadows and create a bright environment. It is generally used to convey an upbeat, funny or beautiful subject but can be manipulated to communicate a number of moods and concepts.
If you want to shoot high key indoors, it’s best to have some studio lighting available, preferably 3-4 flashes: two on your subject, two on the backdrop. Also, make sure your camera’s settings are optimized to let in lots of light. Make sure there’s enough to brighten the scene considerably without blowing out the subject.
If you’ve got some nice high key shots to show off, be sure to leave a link in the comments and share your methods with us!

DIGITAL CAMERA SENSORS

A digital camera uses an array of millions of tiny light cavities or "photosites" to record an image. When you press your camera's shutter button and the exposure begins, each of these is uncovered to collect and store photons. Once the exposure finishes, the camera closes each of these photosites, and then tries to assess how many photons fell into each. The relative quantity of photons in each cavity are then sorted into various intensity levels, whose precision is determined by bit depth (0 - 255 for an 8-bit image).

Cavity Array

Light Cavities

However, the above illustration would only create grayscale images, since these cavities are unable to distinguish how much they have of each color. To capture color images, a filter has to be placed over each cavity that permits only particular colors of light. Virtually all current digital cameras can only capture one of three primary colors in each cavity, and so they discard roughly 2/3 of the incoming light. As a result, the camera has to approximate the other two primary colors in order to have full color at every pixel. The most common type of color filter array is called a "Bayer array," shown below.

Color Filter Array

Photosites with Color Filters

A Bayer array consists of alternating rows of red-green and green-blue filters. Notice how the Bayer array contains twice as many green as red or blue sensors. Each primary color does not receive an equal fraction of the total area because the human eye is more sensitive to green light than both red and blue light. Redundancy with green pixels produces an image which appears less noisy and has finer detail than could be accomplished if each color were treated equally. This also explains why noise in the green channel is much less than for the other two primary colors (see "Understanding Image Noise" for an example).

Original Scene
(shown at 200%)

What Your Camera Sees
(through a Bayer array)

Note: Not all digital cameras use a Bayer array, however this is by far the most common setup. The Foveon sensor used in Sigma's SD9 and SD10 captures all three colors at each pixel location. Sony cameras capture four colors in a similar array: red, green, blue and emerald green.

BAYER DEMOSAICING

Bayer "demosaicing" is the process of translating this Bayer array of primary colors into a final image which contains full color information at each pixel. How is this possible if the camera is unable to directly measure full color? One way of understanding this is to instead think of each 2x2 array of red, green and blue as a single full color cavity.

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This would work fine, however most cameras take additional steps to extract even more image information from this color array. If the camera treated all of the colors in each 2x2 array as having landed in the same place, then it would only be able achieve half the resolution in both the horizontal and vertical directions. On the other hand, if a camera computed the color using several overlapping 2x2 arrays, then it could achieve a higher resolution than would be possible with a single set of 2x2 arrays. The following combination of overlapping 2x2 arrays could be used to extract more image information.

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Note how we did not calculate image information at the very edges of the array, since we assumed the image continued on in each direction. If these were actually the edges of the cavity array, then calculations here would be less accurate, since there are no longer pixels on all sides. This is no problem, since information at the very edges of an image can easily be cropped out for cameras with millions of pixels.
Other demosaicing algorithms exist which can extract slightly more resolution, produce images which are less noisy, or adapt to best approximate the image at each location.

DEMOSAICING ARTIFACTS

Images with small-scale detail near the resolution limit of the digital sensor can sometimes trick the demosaicing algorithm—producing an unrealistic looking result. The most common artifact is moiré (pronounced "more-ay"), which may appear as repeating patterns, color artifacts or pixels arranges in an unrealistic maze-like pattern:

Second Photo at ↓ 65% of Above Size

Two separate photos are shown above—each at a different magnification. Note the appearance of moiré in all four bottom squares, in addition to the third square of the first photo (subtle). Both maze-like and color artifacts can be seen in the third square of the downsized version. These artifacts depend on both the type of texture and software used to develop the digital camera's RAW file.

MICROLENS ARRAYS

You might wonder why the first diagram in this tutorial did not place each cavity directly next to each other. Real-world camera sensors do not actually have photosites which cover the entire surface of the sensor. In fact, they often cover just half the total area in order to accommodate other electronics. Each cavity is shown with little peaks between them to direct the photons to one cavity or the other. Digital cameras contain "microlenses" above each photosite to enhance their light-gathering ability. These lenses are analogous to funnels which direct photons into the photosite where the photons would have otherwise been unused.

Well-designed microlenses can improve the photon signal at each photosite, and subsequently create images which have less noise for the same exposure time. Camera manufacturers have been able to use improvements in microlens design to reduce or maintain noise in the latest high-resolution cameras, despite having smaller photosites due to squeezing more megapixels into the same sensor area.