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?
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