Low Key Portrait
Andy Pena

Low Key Portrait How to Make It Step by Step For Beginners

Low Key Portrait How to Make It

Low Key Portrait in a world where the crisp, clean, high key shot dominates, it’s great to see a return to the low key portrait. In comparison to the high key image, where most of the tones are above (lighter than) 50% grey, the low key portrait has tones that are mostly under (darker than) 50%.

You’re replacing the light, airy feel with a more moody, dramatic look. Looking at your histogram, most of the information is bunched on the left-hand side. That’s not to say that you’re underexposing the subject to get this look. You still need correct exposure on the face. A lot of action movies or thrillers have posters with a low key feel. Think drama and you’re in the ballpark for how a low key portrait will look.

Low key portrait examples 01

The background and lighting

Your background needs to be dark, usually dark grey or black, and the tone of the clothing will be of a darker tone. They don’t need to be black strictly speaking.

You should set your lighting to create drama. Take your cues from film noir. The photos don’t need to be in black and white, though. However, you may find that the absence of colour in low key images can lend itself to this look. As well as choosing dark clothes, avoid ones with patterns, as this will draw attention away from the face.

Low key portrait examples 02

Lighting a low key portrait

You don’t need to use artificial lighting to get a low key portrait. You could use natural light through a window. To get control, you need to close the curtains down to a tiny slit of light. Then, with the room lights off, place your subject in the light and expose for their face.

The rest of the room will go dark for a naturally lit low key portrait. If you’re in a corner room with a window on each side, you could even do this trick where the second window acts as a backlight. Just narrow the slit in the curtains to control the light for this effect (see below).

Low key portrait examples 03

You can also have this control in the studio

You’ll need a lighting setup that is flattering and controllable. A strip softbox lets you control the light more, as would a beauty dish. If you don’t have either, you can add some material over the softbox you do have to create a strip light. If you have a grid, even better. As long as you can control where the light goes, you’ll be able to get this down. You can even block your light from the background using a black card (things that block light are referred to as flags).

Creating a low key portrait from scratch

For the examples here, I used an Elinchrom BRX500 with a 44cm White Beauty Dish and a white deflector. Like I’ve mentioned, you don’t need to have exactly this gear to get these shots. Gear is an only a small part of the equation, it’s using the gear that counts.

In this first shot, you’ll see the model against the wall, photographed with a butterfly lighting pattern. Even though the tones are dark, the image itself is too bright for a low key portrait.

Low key portrait example 02
Close to the grey wall.
The Setup

By moving the model and the light evenly away from the wall, you’ll notice the light on the subject stays the same, but the background gets darker.

Low key portrait example 03
Moving the model away from the wall means the light falls off and the background gets darker.

Move the light to the side

If you move the light around to the side, into a short lighting position, you’ll see the background darkens even more, and there is an increase in the drama of the shot. We still have light spilling on to our background, though.

Low key portrait example 05
Moving the light to the side means even less light falls on the background, darkening it even more.

Low key portrait example 04

Add a grid to the light

By adding a grid to the light, you can control the light even more. The grid restricts the light to whatever is in front of the light only, none bounces around or spills out the sides.

Low key portrait example 07
With a grid added to the light.
Low key portrait example 06
Light with grid added.

Add light onto the hair

You’ll see that the hair is starting to blend in with the background now. This can be a great effect sometimes, but if you want separation between the hair and the background, you need to add fill light in there somehow.

You could choose a reflector, but a second light offers more control. I’ve added a strip light on the other side of the subject opposite the main light. Make sure that light doesn’t hit your lens or you will get flare. Use a grid or a flag to block it if necessary.

o block it if necessary.

Low key portrait example 09
Second light added for her hair.
Low key portrait example 08
Light position with main light (with a grid) and hair light (also with a grid) opposite and behind the subject

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