I photograph high-key headshots for a lot of firms in Charleston. That clean, modern, all-white background just seems to be a popular choice for many companies. Plus it’s also an easy background to knock out in Photoshop if your marketing team wants to change the background to something else. I know the Rosen Hagood law firm does that with all the high-key portraits I shoot for them.
Periodically, companies will switch up their marketing or change their web-design, and ask me for a different background to go with their new “look”. But I’ve been working with Bridge Commercial for probably over a decade and they just continue to love the simple and elegant look of the high-key background. What’s not to like?!?
The key to lighting a high-key portrait is the background light. If you don’t light the background separately from the subject, even the whitest background will still come out looking dull. That’s because of the inverse square law of light. As you can see in my setup, I’ve got two speedlights on the left-side stand as my main light, which is Group A. I’ve got one speedlight on the right-side stand as my fill light, which is Group B. The power ratios in both groups are about the same. But having one speedlight instead of two naturally gives me half the amount of light, providing a pleasing ratio between the highlights and the shadows on my subject. Finally, I’ve got one speedlight on the stand behind the subject, aimed at the center of the background. The ratio on this light is double the others because I want the background to be nice and bright.
(Nikon Z9, Nikkor Z 70-200 f2.8, Godox/Flashpoint transmitter and speedlights, Manfrotto supports, Westcott 60″ umbrellas, and a twist-flex white background)
