Search f11

Search the f11 site...

Use the search form below to search the f11 site. Enter your search term and press enter on your keyboard.

Sign In

My Account at f11 Photography Magazine

Welcome to your "My Account" area. From here you can access and update your contact and membership details, view all orders including videos and workshops purchased and write reviews on items you've bought.

Sign In

Please enter your username and password to log in.

Username:
Password:
 

If you have forgotten your login details and need a reminder, click here:
Request Reminder

Photography Magazine

The Low Down

Exposure, Part Seven: The Future is Bright




I'm having a moment of revelation. Nowhere, it seems, in my entire collection of images spanning three decades of global travel can I find a single high-key image. Surely there will be something in amongst all those misty landscapes and snowy scenes, just one shadow-less image that relies overwhelmingly for its impact on bright, light tones with a histogram curve bunched further to the right then Genghis Khan? It seems not. Low-key, no problem; my library is full of images with rich tones threatening to fall off the extreme left wing of the histogram, but high key? It seems I just don't shoot that way. What does that say? Moody, sombre, dark, introverted, hard left… Is that me? Not in a month of Sundays, so where are the bright-not-quite-white pictures?


Finally I find one from Vík in Iceland: a white church set against a backdrop of snow-clad mountains. If that's not high key, I don't know what is. But I'm left somewhat disturbed by the revelation. Maybe I should venture out henceforth with my camera set permanently to massive over-exposure, determined to portray a brighter view of the world, and bugger the blinkies?

Sign In or Join F11 to read this article

Please enter your username and password to log in.

Username:
Password:
 

If you have forgotten your login details and need a reminder, click here:
Request Reminder