Editing Low-key lighting

{{Short description|Stage lighting style}}
{{About|a high-contrast lighting setup commonly used in film noir|the style of photograph or painting which features predominantly dark tones|Low key}}
[[File:Sony A77 II.jpg|thumb|Low-key lighting is often used in product advertising. This camera is lit by a [[soft box]] positioned above, with a white reflector to the front-left|alt=|220x220px]]
'''Low-key lighting''' is a style of [[Stage lighting|lighting]] for [[photography]], [[film]] or [[television]]. It is a necessary element in creating a [[chiaroscuro]] effect.<ref name=":0">{{Cite book|url=https://books.google.com/books?id=-jgqBgAAQBAJ&dq=%22Low-key+lighting%22&pg=PA245|title=Introduction to Media Production: The Path to Digital Media Production|last1=Kindem|first1=Gorham|last2=PhD|first2=Robert B. Musburger|date=2012-08-21|publisher=CRC Press|isbn=9781136053221|pages=245|language=en}}</ref> Traditional photographic [[lighting]] ([[three-point lighting]]) uses a [[key light]], a [[fill light]] and a [[back light]] for illumination. Low-key lighting often uses only a key light, optionally controlled with a fill light or a simple [[reflector (photography)|reflector]].

Low key light accentuates the contours of the subject by throwing areas into shade while a fill light or reflector may illuminate the shadow areas to control [[contrast (vision)|contrast]].<ref>{{Cite book|url=https://archive.org/details/filmcriticalintr0000pram|url-access=registration|title=Film: A Critical Introduction|last1=Pramaggiore|first1=Maria|last2=Wallis|first2=Tom|date=2005|publisher=Laurence King Publishing|isbn=9781856694421|pages=[https://archive.org/details/filmcriticalintr0000pram/page/81 81]|language=en}}</ref><ref name=":0" /> The relative strength of key-to-fill, known as the [[lighting ratio]], can be measured using a [[light meter]]. Low key lighting has a higher lighting ratio, e.g., 8:1, than [[high-key lighting]], which can approach 1:1.

==Examples in film==
The term "low key" is also used in [[cinematography]] and photography to refer to any scene with a high lighting ratio, especially if there is a predominance of shadowy areas. It tends to heighten the sense of alienation felt by the viewer, hence is typically used in  dramas, [[film noir]], and [[Horror film|horror films]].<ref name=":0" />

Some classic noir films that have used the technique include ''[[The Big Sleep (1946 film)|The Big Sleep]]'', ''[[Double Indemnity]]'', and others. In ''The Big Sleep'', lamps are frequently used as light sources and often only illuminate certain details in a scene, creating sharp silhouettes and providing a stark lighting contrast for much of the film. Specific examples of the technique’s use regarding the lamps occur whenever [[Philip Marlowe]] (played by [[Humphrey Bogart]]) has to place a phone call to the police. He turns on a lamp every time he does so, indicating his return to the side of the “good guys.”<ref>{{Cite web |date=2016-02-09 |title=Shadows, lamps and criminal underworlds: Why film noir looks so cool |url=https://www.pooky.com/blogs/inspiration/shadows-lamps-and-criminal-underworlds-why-film-noir-looks-so-cool |access-date=2023-11-22 |website=Pooky Lighting |language=en}}</ref>

In ''[[Double Indemnity]]'', the lighting in Walter Neff’s (played by [[Fred MacMurray]]) confession scenes underscores the murder which he is confessing to, and suggests a “dark” aspect to his character. In addition, low key lighting appears in the film in numerous other instances, such as the scenes taking place in Phyllis’s (played by [[Barbara Stanwick]]) house, more specifically when either Neff or Phyllis is alone or together within the home.<ref>{{Cite web |title=Lesson 7 - Page 7 |url=https://greengold.uvu.edu/thea/1023/123_robinson/lessons/07/l07_07.html |access-date=2023-11-22 |website=greengold.uvu.edu}}</ref>
 
The [[chiaroscuro]] effect the technique often created was also used liberally in classic noir. An example of such a filmmaking choice can be seen in the 1940 film noir ''[[Stranger on the Third Floor]]'', which used the lighting contrast to highlight the fantastical qualities of the environment.<ref>{{Cite web |last= |date=2017-04-04 |title=Chiaroscuro (1940s Film Noir – #AtoZChallenge) |url=https://theoldshelter.com/chiaroscuro-1940s-film-noir-atozchallenge/ |access-date=2023-11-22 |website=The Old Shelter |language=en-GB}}</ref>  Chiaroscuro and by extension low key lighting was also used to great effect in [[German expressionist cinema]], widely considered a forerunner of film noir.<ref name=":02">{{Cite web |last=Shields |first=Meg |date=2021-03-19 |title=Shadow Play: The Art and History of Cinematic Chiaroscuro |url=https://filmschoolrejects.com/chiaroscuro-film-lighting/ |access-date=2023-11-22 |website=Film School Rejects |language=en-US}}</ref> 
 
Modern neo-noir films such as ''[[There Will Be Blood]]'' have also employed the tactic to great effect, often using the technique to evoke a sense of unease. Other modern noir-adjacent films and television shows that have used the technique include ''[[Joker (2019 film)|Joker]]'',<ref>{{Cite web |last=Berry |first=Sean |date=2020-09-21 |title=What is low-key lighting and why should you use it? |url=https://www.videomaker.com/how-to/lighting/lighting-design/what-is-low-key-lighting-and-why-should-you-use-it/ |access-date=2023-11-22 |website=Videomaker |language=en-US}}</ref> ''[[The Batman (film)|The Batman]]'' and the films of [[David Fincher]], director of ''[[Seven (1995 film)|Seven]]''.<ref>{{Cite web |last=Urban |first=Sasha |date=2022-03-12 |title=Don't Adjust the Brightness: Here's Why TV and Movies Are So Dark Now |url=https://variety.com/2022/film/news/why-movies-so-dark-hard-to-see-batman-1235195535/ |access-date=2023-11-22 |website=Variety |language=en-US}}</ref>  Fincher in particular makes extensive use of limited light sources, often highlighting an invisible conflict between “light [and] darkness” by effectively controlling the light of his scenes.<ref>{{Cite web |date=2021-08-09 |title=David Fincher and his visual storytelling - Filmustage Blog |url=https://filmustage.com/blog/the-mastery-of-david-fincher/ |access-date=2023-11-22 |website=Filmustage |language=en}}</ref>

Cinematographers such as [[Roger Deakins]] also use aspects of low key lighting in their scene composition. In particular, Deakins and others used natural light as much as they could, which often had the effect of creating low key lighting when filmed in low light conditions.<ref>{{Cite web |last=Allen |first=A. B. |date=2023-03-30 |title=Why are movies so dark these days? |url=https://www.polygon.com/23661749/why-movies-look-dark-cinematography |access-date=2023-11-22 |website=Polygon |language=en-US}}</ref> Examples of films Deakins has worked on include ''[[Blade Runner 2049]]'' and ''[[The Man Who Wasn't There (2001 film)|The Man Who Wasn't There]]''.<ref name = ":02" /> More recent examples include the films of [[David Lowery (director)|David Lowery]] and [[Andrew Droz Palermo]], the latter of whom praises natural low-key lighting techniques for their “painterly and expressionistic” quality.<ref>{{Cite web |last=Robinson |first=Tasha |date=2021-08-28 |title=The Green Knight's DP clears up one big mystery |url=https://www.polygon.com/interviews/22645517/green-knight-interview-colors-meaning-easter-eggs-helen-of-troy |access-date=2023-11-22 |website=Polygon |language=en-US}}</ref> Cinematographer Devan Scott also notes the influence of digital technology in creating these films as well as its increased use in the industry by citing the technology’s relative ease of use, and stating that the increase in dark lighting is “a trend enabled by tools” first and foremost.<ref name=":01">{{Cite web |date=2023-01-18 |title=Dark scenes are here to stay, here's what you can do about it |url=https://www.avclub.com/how-to-watch-dark-movies-and-tv-shows-1849983750 |access-date=2023-11-22 |website=The A.V. Club |language=en}}</ref>
  
The proliferation of such techniques has been criticized by viewers in several instances. For example, many viewers reacted poorly to a dimly-lit final battle in the finale of ''[[Game of Thrones]]'', despite series cinematographer [[Fabian Wagner]] stating that the darkness was intentional, claiming the “show runners decided that [the battle] had to be a dark episode.”<ref>{{Cite web |title=Game of Thrones cinematographer defends 'too dark' episode |url=https://www.cnet.com/culture/entertainment/game-of-thrones-cinematographer-defends-too-dark-episode/ |access-date=2023-11-22 |website=CNET |language=en}}</ref>  Other modern examples of viewer backlash include films such as ''[[Arrival (2016 film)|Arrival]]'' and ''[[Solo: A Star Wars Story|Solo]]'', as well as TV shows such as ''[[Ozark (TV series)|Ozark]]'' and ''[[The Mandalorian]]''.<ref name =":01" />

<gallery widths="240" heights="160" caption="Low-key images">

File:Low-key cat.jpg
File:Ayesha Blue Hour Film.jpg
File:Low-key photography - portrait of a young man.jpg
File:Low key Nina.jpg
File:Avocado leaflets.JPG
File:12-03-17-aktstudien-nuernberg-by-RalfR-32.jpg
</gallery>{{Gallery|title=|align=center|height=220px}}

== See also ==
{{commons category|Low-key lighting}}
* [[Backlighting (lighting design)]]
* [[Chiaroscuro]]
* [[Contre-jour]]
* [[High-key lighting]]
* [[Low-key photography]]

== References ==
{{Reflist}}

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[[Category:Photographic techniques]]
[[Category:Cinematography]]