Were going to do a high key situation right now, a high key lighting use in large soft box and it sis at F11, I’m using a homemade reflector. Which is reflecting light back up into Daniel’s face and I’m using my reflector bars as a fill light. And that’s my favorite form of fill light of course you don’t have to use that you can use an actual light if you want. Generally, I go for about a two-stop difference, so if my main lights at F11 I would go for 5.6 on the fill light using a very soft light source.

However, that’s my favorite light source. Going over here and let’s look at the background light, we have just up to your right a little bit more and I will show you. We have over here two Alien B’s and they’re turned right down to F16–they’re coming off a six-entry reflector, so there is no filtration on it or what so ever. And it’s projected across onto the background, now this background is a white painted candies you could use paper, you can use a white painted wall, if you just ant to do a head and shoulder or waist top shoot which is actually quite effective.

But the idea on your exposure here is to get the background at least one stop brighter than the main light. I prefer stop in a bit, stop in the third so using my light meter I’ve measured right here and I have an output of 16 and third, 16.3 the main lights are F11. So the background light is a good stop and third higher than the main light so that’s when you get really nice snappy white high key shoots I’m just going to do a quick shoot of Daniel right now, see if we can look right here Daniel just a little smile.

Okay, that’s how we get a high key that’s one version, now were going to do a high key just a close-up this on of my favorite looks, to me it reassembles a look of a pencil or an oil painting or charcoal painting if you work really properly later. Again, it’s the same idea with the high key; they’re only going to put it off Daniel from the waist top. So we don’t need that much of a white background you can use a white wall or anything for that matter. Like a piece of paper and white sheet, it doesn’t matter. The light is coming off the background again our 16 and one third of the main light is at 11 and I’ve got my reflector coming back off me like into Daniel face, really nice secularity in the eyes.

And it might feel like this is too big white reflector boards. I went with the larger reflector boards for the high key because I wanted more fill coming in with high key shoot unlike the low key where we want very dramatic shadow wing. I don’t shadow wing to be that dramatic so I want the fill like to be filing in more and the main light to be more blended as opposed to start shadowing. So that’s kind of the idea kind of the idea behind this one, so again half 11, 16 and one third on the background and I’ve angle here away from the main light and them I’m going to turn her head into the angle of the main light for a nice elegant classic portrait.

So I’m going to take one right now and were going to show you what we end up it. Okay, so took out how we work flow this images so you can see where I take this image to and how nice it is and timeless especially as a black and white in this or CP and tone shoot. This kind of set up here is absolutely amazing and but you must work for it properly in order to get the right results. So that’s it, that’s it for second variation on the high key shoot. Hope you’ve enjoyed it.