Post by John Lind on Sept 11, 2020 7:34:28 GMT
I apologize for using studio lighting jargon without thinking most wouldn't understand it . . .
. . .
Photo note: Don't do high key much - may do this one over again with low key.
. . .
I love the auto-zero when you pull the crown. My Eco-Drive does it, and my two Festina's with the Miyota OS80 also do. However, I'm lost about the high key low key comment..gif)
Thanks Dan . . . it was a little surprise when I pulled the crown out to set the date/time.
My apology for high key vs low key lighting jargon that only those familiar with studio work and lighting methods would understand. In studio jargon, the "key light" is the main, brightest and principal light source. Other lights or reflectors are used for "fill light" to reduce contrast and provide better shadow detail. Some specialized lights such as back lights, hair lights, rim lights, etc. are used in more sophisticated work. The average amateur photographer works with only one natural source daytime outdoors and one artificial source nighttime outdoors or indoors (i.e. on-camera flash). If you ever come across an on-location commercial shoot, you'll see multiple lights, reflectors, "flags" to block light, "scrims" of translucent material to diffuse it, etc. It's all about complete, absolute control of the light . . .its source, intensity, and direction. The ideal studio has no source of light other than the studio lights being used to illuminate the subject. High Key and Low Key are at the extreme ends of subject background control. Most of my watch and knife photos use something in between them.
High Key Lighting:
Very light to completely blown out bright subject background. In the most dramatic use, the subject emerges from completely bright white light. In a studio, a reflector or separate back light is often aimed at the light background to blow it out (not something I do). Camera point of view is almost always high side or key side . . . the side from which the key light falls on the subject. It was a very popular fad in glamour photos with subjects often wearing very light or white clothing so that the face and hair are the only things attracting the eye. May still be. It's been a while. Product catalog photos are almost always high key, and it's a very specialized type of studio work all unto itself to put only the product onto a pure white background for a catalog page. Found looking at some of my photos that I'd used it a little more frequently than I'd thought. A few examples . . .
Low Key Lighting:
Very dark to completely black subject background. In the most dramatic, the subject emerges from total darkness. Rembrandt frequently used low key lighting combined with far side point of view (aka low side; subject viewed from shadow side) and a key light position creating very dramatic high contrast shadows referred to now as "Rembrandt lighting" in his portrait paintings. A few Low Key examples.
Sept 11, 2020 2:04:53 GMT zeb said:
Photo note: Don't do high key much - may do this one over again with low key.
I love the auto-zero when you pull the crown. My Eco-Drive does it, and my two Festina's with the Miyota OS80 also do. However, I'm lost about the high key low key comment.
My apology for high key vs low key lighting jargon that only those familiar with studio work and lighting methods would understand. In studio jargon, the "key light" is the main, brightest and principal light source. Other lights or reflectors are used for "fill light" to reduce contrast and provide better shadow detail. Some specialized lights such as back lights, hair lights, rim lights, etc. are used in more sophisticated work. The average amateur photographer works with only one natural source daytime outdoors and one artificial source nighttime outdoors or indoors (i.e. on-camera flash). If you ever come across an on-location commercial shoot, you'll see multiple lights, reflectors, "flags" to block light, "scrims" of translucent material to diffuse it, etc. It's all about complete, absolute control of the light . . .its source, intensity, and direction. The ideal studio has no source of light other than the studio lights being used to illuminate the subject. High Key and Low Key are at the extreme ends of subject background control. Most of my watch and knife photos use something in between them.
High Key Lighting:
Very light to completely blown out bright subject background. In the most dramatic use, the subject emerges from completely bright white light. In a studio, a reflector or separate back light is often aimed at the light background to blow it out (not something I do). Camera point of view is almost always high side or key side . . . the side from which the key light falls on the subject. It was a very popular fad in glamour photos with subjects often wearing very light or white clothing so that the face and hair are the only things attracting the eye. May still be. It's been a while. Product catalog photos are almost always high key, and it's a very specialized type of studio work all unto itself to put only the product onto a pure white background for a catalog page. Found looking at some of my photos that I'd used it a little more frequently than I'd thought. A few examples . . .
Low Key Lighting:
Very dark to completely black subject background. In the most dramatic, the subject emerges from total darkness. Rembrandt frequently used low key lighting combined with far side point of view (aka low side; subject viewed from shadow side) and a key light position creating very dramatic high contrast shadows referred to now as "Rembrandt lighting" in his portrait paintings. A few Low Key examples.
