Try taking these high-contrast lighting techniques out of the studio and into the wild
When you have been a photographer for as many years as I have, it is
time to challenge yourself; it is time to create a “look.” In the art
world, each artisan eventually generates a style or brand that becomes
easily recognizable. I wanted my photography to be memorable to viewers,
not only possessing beautiful expression but also a distinctive
uniqueness. In my career, this where the idea of high key and low key
lighting in nature photography began to evolve.
Most studies in art or photography touch on this methodology and
utilize it in the studio. The technique can produce profound images by
isolating the photographic subject against a seamless white or black
background. Adjusting intensity and angle of light by deploying strobes
or finding a location that offers suitable natural light can create a
magical mood. Contrast from side lighting and shadows are optional
tools. At both ends of the spectrum, each approach is extremely
effective, especially with monochromatic palettes. These are controlled
methods employed with somewhat compliant subjects.
So, how do high key and low key looks fit into the world of an
outdoor photographer? I certainly didn’t tell the flying wood stork in
my image Bringing Home the Bounty to look my way and say,
“Cheese!” Nor can I place it in the sky exactly where the light is
perfect with its wings in the proper position. Here is where the spark
of creativity and knowledge of technique comes into play.
As a photographer and a biologist, I am especially intrigued with
large wading birds and their behavior. Photographing a bird of
significant size in mid air creates a continuous rush of adrenaline—an
essential fuel for me, a “little girl" who carries gargantuan equipment
into the field. The winter white look is gorgeous when isolating a bird
such as great egret in an uncluttered, blanched sky. The reality of this
vision seems somewhat far-fetched, as usually these species are seen
flying parallel against a mass of trees and chaotic branches. Thus
unfolds challenge No. 1—finding a flying bird in a white sky.
High Key Technique
A necessary trait of a successful high key photographer is to become a
“weather freak.” Often, I base myself in South Carolina to accommodate
drivable distances to shoot locations in Florida. If the trusty weather
apps indicate a probability of clouds at a favorite site, I jump into
the SUV and head out to do what I call “bird shopping.” Bringing
the Bounty. High key accentuates the magnificence of this wood stork
and the huge branch he is transporting to the nest.
Understanding the routine of the creature you are attempting to
photograph is a definite plus. For example, within most large wading
bird species, males transport sticks to construct a nest and entice
females to the breeding area. To capture the moment, I know I must be at
a rookery on a cloudy day during mating season, well prepared with
equipment to suit the circumstances. My SUV is always packed to the
hilt, carrying no less inventory than a “portable” major photographic
supply company. My equipment of choice consists of two camera bodies:
one on a tripod, the other hand-held. Lately, I am outfitted with the
Nikon D500 in hand and a Nikon D810 secured onto a tripod. For wildlife
in motion, a zoom lens will render better keepers. My arsenal is the
Nikkor 80-400mm and the Nikkor 200-500mm. On a 4th Generation M-3.6
Mongoose gimbal head secured to a tripod could be a Nikkor 300mm f/2.8
or the 500mm f/4, with or without teleconverters.
Lighting is what will make or break the final result. An external
flash can be used and is very effective when outfitted with an extender.
It is recommended to use a powerful strobe set with a high sync speed,
mounted above the camera. The extender will concentrate the light and
render the background a bit whiter than it would be without. Tones will
vary due to white balance, but keep in mind, it is more important to
force the values brighter than the midtones on a histogram. Overexposure
is necessary but not to the extent of blowing out highlights. Two modes
are most successful: aperture priority with positive exposure
compensation, perhaps + 1 or + 2 EV, or full manual exposure. It is
imperative to shoot in RAW, as many times the white balance will appear
somewhat bland with slight gray tinges that will require the
post-processing flexibility possible with a RAW file. A large aperture
will minimize the depth of field and allow a softer background. Smooth
panning with the bird in flight at a shutter speed that is fairly high,
usually at 1/1000th sec. or greater, will also be necessary. The
metering mode will depend on the subject in the composition. During a
day with compromised light, it is mandatory to be cognizant of the
camera’s exposure settings—aperture, shutter speed and ISO.
Low Key Technique
On the opposite end of the spectrum, using the low key effect, images
are dark and contrasty, with a black or smoky gray backdrop. This
approach provokes a totally different perspective and feeling of drama.
The feathers of a species or other prominent features of a subject can
be accentuated and rendered with pleasing visual effects. Using
reflections, such as on an opaque black pond, can provide extraordinary
results. Often, people who view my photography in the gallery think the
fine art images are actually paintings because of the intricate detail.
My reply: “I paint with my camera.” Pelican’s
Evening Swim. The dark pond accentuates the feather detail of the white
pelican perfectly. A painterly look can be achieved.
Thinking about attempting low key photography at night? Use my
philosophy, “Walk softly and carry a big lens.” Aesthetically, there is
nothing more serene than being alone with nature as daylight ends; the
enchantment of twilight triggers creativity. It is important not to
disturb wildlife; therefore, staying quiet, keeping distance and using a
large prime lenses will do the trick. Such is the case with wildlife
portraiture in Pelican’s Evening Swim and Heron’s Night Reflection.
Focus must be precisely on the subject’s eye, so I never rely on
autofocus, as the camera may randomly set the focus point on undesirable
areas. Most of the time, it is necessary to use a long-reaching fill
flash with an extender such as the Better Beamer or MagBeam to
illuminate perfectly. Though some photographers shy away from flash, I
prefer using it over a high ISO setting on the camera. Even though my
cameras are tested for high ISO capabilities and software is available
to compensate, there still can be evidence of noise on the files when
producing a print of significant size shown as a gallery image. Usually,
the lowest ISO setting for a stationary subject in the dark would be
ISO 400. A larger aperture will most likely be required. Always try to
meter the subject correctly, keeping the histogram toward the left. Pelican’s Evening Swim was made at a pond in J.N. “Ding”
Darling National Wildlife Refuge in Florida. This species of white
pelicans migrates here and is not a full-time resident. I photographed
them earlier in the day but had visions of how incredible a low key
image would look. To highlight the magnificent creatures, I wanted to
accentuate the ivory plumage; surely a dark pond would suffice as the
perfect black backdrop. With dusk approaching, all gear prepared, head
net secured to protect against the ferocious mosquitoes, all there was
to do was wait for the right moment. Compositionally, I thought it best
to concentrate on one bird and create a portrait. The pelican swam, I
photographed to my heart’s content and a smile radiated under the head
net as I viewed the camera’s monitor. The swirls in the ebony pond
reflection reminded me of well-thought-out brushstrokes an artist could
have painted with a finely controlled brush. To make the image even more
magical was a solitary droplet of water remaining at the end of the
pelican’s beak. Heron’s Night Reflection. Evening sets the stage for a serene low key portrait of a great blue heron.
High Key And Low Key For Other Subjects
These techniques are not limited to wildlife. They can successfully
be used for macro and landscape photography as well. The enigma of what
may be found in the wild along with these photographic applications can
yield exquisite images. The attempt is to transport the viewer into a
realm of subject isolation in the monochromatic background.
Aesthetically, when we photographers can erase all that is extraneous,
yet infuse and extract the enticing essence of the wild environment, we
are truly successful. The high key and low key methods should be
experimented with, as they truly broaden the range of innovation and
artistry for photographers who dare to challenge themselves and their
imaginations.
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