Boy, but I'm finding this hard! I've done some more reading and think I'm now getting a better understanding of this high-key thing.
My problem, I believe, is that I have been confusing kigh-key and restricted tonal range. High-key shots would all appear to have a restricted tonal range but not all shots with restricted tonal range are high-key... it would seem to depend on the range of contrasts present.
My 'Blanc de Blancs' shot from yesterday I now realise, despite the nice comments to the contrary, has a resticted tonal range but is not classic high-key because of the restricted contrast range.
Here's what is going to be my final try at this genre, at least for a while... I need to study more and reflect some before I come back to this. Thanks for your patience...
I think the terms get used differently by different people. I've seen high contrast shots, like that barbed wire I took, describe as high key - and that was taken on +2EV when I checked back (it was very different to the version on 0EV, which I also took). I've also taken high key shots of white on white - shells or feathers or flowers on a white background that are very subtle and have a very limited tonal range and I've often used +2EV for them too.
@shannejw Interesting Shanne, thank you. I couldn't really say what my EV was here because I had the camera on manual and the lighting was a small studio strobe with a soft-box. I just adjusted the strobe until I had the right looking histogram. It's been an interesting learning experience!
Beautiful! I'm behind, as you may have noticed. My understanding of high key was that most of the image was "washed out" giving prominance to the dark details. I think this fits that definition.
However, as photographers ( if I dare call myself that!), especially as photographers coming to grips with the notion that not all photos need to be "correctly exposed" to have a full tonal range, I think the important thing for our growth is to explore the "whites," explore the "midtones," and explore the "shadows." We can leave the wrangling about just exactly WHAT high key IS for later!
When I view it large on black the black border appears to disappear (I realise that it's still there!) It looks quite different without it. Gorgeous high key photo.
@jocasta@kiwiniknak Hi Jocasta and Niki - as a rule I don't much care for frames, in fact this the first time I have ever used one. After posting though, I realised that, with most of the background being pure white, the photo had no boundaries other than the page itself. I quickly dived into Picmonkey and the only plain frame I could find was this one, although I would have liked something more delicate - perhaps I didn't look in the right place.
You are light years ahead of me. I applaud you for trying something you have found so difficult. But learning is more appreciated if we have to work at it. And if when you are done with this you never take another hi-key you will have learned things that will show up in your other pictures. I like this in bw.
Oh jeez, I should have bought the book. Although I did not because it looked too complicated so I bought a simpler looking text by Michael Freeman. I think you should get a prize for entering into the swing of things and pushing yourself. I really love this one. Fav.
what a superb series you are putting out .. sorry I missed these ... and catching up ... but you seemed to have elevated your photography to a visibly different level (at least in my humble opinon) in a short time .. easy Fav
I think the terms get used differently by different people. I've seen high contrast shots, like that barbed wire I took, describe as high key - and that was taken on +2EV when I checked back (it was very different to the version on 0EV, which I also took). I've also taken high key shots of white on white - shells or feathers or flowers on a white background that are very subtle and have a very limited tonal range and I've often used +2EV for them too.
A a pretty neat vase, too.
However, as photographers ( if I dare call myself that!), especially as photographers coming to grips with the notion that not all photos need to be "correctly exposed" to have a full tonal range, I think the important thing for our growth is to explore the "whites," explore the "midtones," and explore the "shadows." We can leave the wrangling about just exactly WHAT high key IS for later!