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Category: Photography

Storytelling in Still Life Photography

Still lifes, both in photography and painting, depict a collection of objects. At a first glance they can seem static and meaningless, but still lifes can be effective visual storytelling. Here, we’ll take a closer look at storytelling in still life photography. Both at the types of stories you can tell, plus how you tell stories with objects and flowers.

Visual Storytelling in Still Life Photography

Still life – nature morte. There is not much life in the names, is there? But are still lifes really so still? Are they dead?

Not if you ask me. I think they can be full of life. Full of energy. And full of stories.

Do all still lifes have elements of narrative and storytelling? No. Many still lifes are simply visual poetry. They don’t aim to tell a story. They are visual poems that focus on colour, form or atmosphere. For now, we focus on the still lifes that tell a story.

Still lifes can be effective visual storytelling.

Photo Art | 'Corona pandemic' 'Old Master' inspired still life with toilet paper, hand sanitizer and protective glove.

Photo Art | Dark and moody still life photography with storytelling elements

Dark and moody flatlay still life photography of the life cycle of a daffodil

Photo Art | Dark and moody still life with bouquet of dried seedheads

Photo Art | Dark and moody still life with nature's waste

Photo Art | Dark and moody vanitas inspired springtime object still life photo

Photo Art | Dark and moody floral still life photo with ground elder

Photo Art | Dark and moody vanitas still life with hibiscus flowers

Types of Storytelling in Still Life Photography

So we’ve established that still objects in a photograph or painting can tell a story. Let’s look at storytelling in still life photography under a microscope. What types of stories can you tell in still lifes?

The stories fall into 3 categories:

- Statement
- Characterization (of someone/something)
- Development

Statement

Many still lifes make a statement, both classic still lifes and modern. The still lifes that convey a statement fall into 3 categories – Vanitas, Memento Mori and other still lifes that make a comment.

Vanitas

‘Vanitas’ is latin and means ‘vanity’. It is a subgenre of still lifes that was hugely popular in The Dutch Golden Age. The vanitas still lifes all make the (Christian) statement that life is transient and earthly possessions futile.

Memento Mori

‘Memento Mori’ is Latin and means ‘remember you must die’. The memento mori subgenre is closely related to vanitas. The memento mori still lifes can both make the statement that all that lives must die, but also that you better enjoy life while you can. Many vanitas still lifes contain memento mori elements, such as candles, hourglasses, skulls etc.

Comment

Vanitas and memento mori are the most common statements made in still lifes. They are both moralizing and a product of their time.

However, all kinds of statements can be conveyed in still lifes. Modern still lifes that convey a statement fall into this category.

Characterization

The depicted objects in a still life can also function as a characterization of either a situation or a person. The objects then serve as attributes.

Development

The story told in a still life can also be one of development. The objects then represent stages or phases in a narrative. On their own the objects would be meaningless, but in context they gain meaning and together they tell a story.

Methods of Storytelling in Still Life Photography

The stories told in still life painting and still life photography are stories of statements, characterizations or development.

These stories are told with the following 3 storytelling methods:

- Symbolism
- Juxtaposition
- Progression

These storytelling methods can either be used alone or in combination.

Symbolism

In The Dutch Golden Age the preferred storytelling method was symbolism. The stories in the still lifes were told in a hidden code language.

Most objects in still lifes had a symbolic meaning, e.g. pearls symbolized virginity and an hourglass symbolized mortality. If not familiar with art history, most modern viewers would miss the coded symbols and just see pretty images of seemingly meaningless objects. But in the Dutch Golden Age viewers were familiar with the code language and were able to ‘read’ the stories told in the still life paintings.

Juxtaposition

Another method to tell stories with is juxtaposition. Juxtaposition is the placing of objects next to each other, in order to highlight similarities or differences. When objects are placed together, they enter into a relationship with each other. The viewer is invited to consider this relationship and derive a story from this.

A major difference with symbolism is that in symbolism an object has a fixed meaning. In juxtaposition the same object can have different meanings depending on the constallations they are part of. The story comes from the context.

Progression

The last storytelling method is progression. The objects in the still life form a series, where the relationship between them is either temporal or causal. So either the story depicts a progession in time or a progression in events that are in a cause and effect relationship. This method is a perfect match for stories of development.

Analysis of Storytelling in Still Life Photos

‘Public Enemy #1’

‘Public Enemy #1’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement
statement in form of a comment,”All plants are created equal”.

Stylistic inspiration from Dutch Golden Age floral still lifes. But instead of a bouquet of highly cultivated flowers, it presents a lush bouquet of one of the most hated weeds, ground elder (Aegopodium podagraria), public enemy #1 amongst garden owners.

> Storytelling method(s): Symbolism
The weed is a symbol of beauty in imperfections and the unplanned.

‘Springtime Vanitas’

‘Springtime Vanitas’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement
statement in form of a vanitas/memento mori,”All that lives must die”.

> Storytelling method(s): Symbolism
The egg shells, down and spring flowers are all symbols of spring and new life. The hourglass, on the other hand, is a memento mori reminder, a symbol of life eventually running out.

‘The Explorer’ & ‘The Voyer’

Photo Art | Dark and moody still life with globe, suitcase, field bottle and camera

‘The Explorer’ | Trine Mandal Mortensen / Tina Thyde | Patinatur Studio

Photo Art | Dark and moody still life with binoculars, kingfisher and birdcage

‘The Voyer’ | Trine Mandal Mortensen / Tina Thyde | Patinatur Studio

> Story type(s): Characterization (of a person)
Characterizations of 2 kinds of people, doers (the explorer) and dreamers (the voyer).

> Storytelling method(s): Juxtaposition + symbolism
When placed together these symbolic objects form a characterization.

‘The Explorer’: the objects symbolize active exploration – globe, suitcase, camera and field bottle.

‘The Voyer’: the objects symbolize passive peeking and studying of others – binoculars, taxidermy bird (Kingfisher), books and birdcage.

‘Corona Pandemic’

‘Corona Pandemic’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Characterization (of a situation)

Characterization of the time of the first lockdown in the corona pandemic.

> Storytelling method(s): Juxtaposition

Placed together these objects – toilet paper, hand sanitizer and protective glove – form a characterization of the first lockdown.

Stylistic inspiration from Dutch Golden Age still lifes. The lemon peel dangling over the edge in Dutch still lifes is here replaced by a roll of toilet paper.

‘The Life Cycle of a Daffodil’

Dark and moody flat lay floral still life with daffodils in all its stages

‘The Life Cycle of a Daffodil’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Development

The image shows the life cycle of a daffodil.

> Storytelling method(s): Progression

Daffodils are placed in a circle in a temporal progression. Each daffodil represents a stage in a daffodil’s development. From sprouted bulb to bud, to partially unfolded flower, unfolded flower, flower in full bloom, wilted flower and to bulb again.

‘The Echo of Summer’

‘The Echo of Summer’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement

Statement in form of a comment, “All flowers are created equal”.

Stylistic inspiration from Dutch Golden Age floral still lifes. But instead of an arranged bouquet of lush cultivated flowers, it presents a bouquet of dried wildflowers simply lying on a surface.

> Storytelling method(s): Symbolism

The dried wildflowers symbolize beauty in the natural and imperfect.

‘Nature’s Waste’

‘Nature’s Waste’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Characterization, statement

Characterization of the waste that nature leaves behind.

Statement in form of a comment, “Nature’s waste is beautiful”.

> Storytelling method(s): Juxtaposition, symbolism

Each object is a waste product from nature. The connection between them is made clear by juxtaposition.

‘Bloom Is Just a Phase’

‘Bloom Is Just a Phase’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement, development

Statement in form of a comment, “Look beyond the prime”.

The hibiscus flowers in full bloom steal the show, but there is beauty to be found in all stages of the development of a flower – bud, bloom and wilted.

Or in all stages of life – childhood, youth, adulthood and old age.

> Storytelling method(s): Juxtaposition, progression

The progression from bud to flower in bloom and wilted flower tells the story of a life cycle.

The juxtaposition of a bouquet of blooming flowers with the entire life cycle shows that there is more to flowers (or people) than their prime.

The collections of objects and flowers can tell many different stories with different methods of storytelling.

A Still Life Is Not Just a Still Life is Not Just a Still Life

So there can be storytelling in still life photography. The collections of objects and flowers can tell many different stories with different methods of storytelling. Gertrude Stein said, “A rose is a rose is a rose”. But sometimes a flower is not just a flower. A floral still life is not just a floral still life. And an object is not just an object. By using symbolism, juxtaposition or progression, they can tell stories of statements, characterizations and developments.

See more of my still lifes

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How Far Should You Go in Editing?

To capture or to create? – That is the question. At least as regards all matters photo editing. Is it ok to alter reality in a photo? Does that make it a fake? Or are you missing out, if you don’t enhance your image? I recently had to adjust my own views on how far I go in editing.

Adjusting the Image in Editing

Usually I don’t change much in my images. I adjust light to create the moody feel I like. (This is done both when I shoot the image and also in editing). When doing portraits I also do mild editing – removing blemishes, sharpening eyes and the like. But nothing that alters the image.

Lightroom or Photoshop?

I do my editing in Adobe Lightroom. It has much fewer functions than Adobe Photoshop. This is a huge advantage, in my opinion. If you don’t want to alter your image, or if you’re new to editing, it’s really nice not to be overwhelmed by the endless possibilities in Photoshop. In Lightroom you can make all the adjustments to a photo that you need, but you can’t make major alterations. The furthest you can go in Lightroom is to remove unwanted elements in your photo. This is where it overlaps with Photoshop. You can read more about when to use Lightroom and when to use Photoshop here.

Creating the Image in Editing

If you want to make dramatic alterations, you can do that in Adobe Photoshop. The possibilities are endless. You can change the background or combine several images into a new one (Compositing). You can add elements (with Brush tool). You can do just about anything you fancy. But does that mean that you should?

Perception Versus Reality

In photography, as well as in life, there’s often a gap between perception and reality. Even if you intend to create a realistic image, you sometimes have to choose if you want to be true to your feelings or to your eyes.

The Fairytale Garden & The Ruthless Viewfinder

Let’s take a closer look at this photo I took of my mum’s garden. The garden is a wild Paradise, a fairytale garden. When you’re in the garden all you see is plants, wildlife and a cute little cabin. You are encapsulated in all this natural gorgeousness and don’t notice the traces of ordinary life. The laundry pole, recycling bin and other ugly mundane elements are not there. All you see is magic. But when you look at the photos afterwards, oh boy, are they there. Suddenly the ugly elements disrupt the magic and demand your attention.

The viewfinder is ruthless. Details you don’t notice in real life, demand your attention when you look at a photograph. So sometimes you need to alter reality, in order to be true to the emotional reality of an experience or a place.

Perception

Reality

Altering the Image in Editing

In order to capture the emotional reality of the garden experience, I had to alter a number of things.

1. Adjust the light
2. Tame greens
3. Remove unwanted elements
4. Fill out gaps in trees
5. Create focus with vignette

1 – Adjust the Light

As much as i love bright, sunny days in real life, I much prefer dark and moody photos.

2. Tame Greens

The same goes for greenery. Being surrounded by greenery is good for the soul (it’s even scientifically proven). I love greens when I’m outside, but when I look at the photos afterwards, the bright greens hurt my eyes. So I always adjust greens in editing. In Lightroom there are several possibilities when adjusting colour. Under the HSL/color panel you find hue, saturation and luminance. I often use a combination of all 3 when I edit greens.

3 – Remove Unwanted Elements

When creating an image I always choose what viewers should focus their attention on – both when I compose the image and when I edit it. If you can avoid attention stealing details by paying attention to your framing, by all means do so. But this is not always an option. If you end up with elements that disturb, remove them! Your image will be the better for it.

4 – Fill Out Gaps in Trees

In moody photography you use darkness to frame and direct attention towards the light in the image. This means that only elements you want to pay attention to should be lit. Insignificant details should not detract attention from what’s important in the image. In this image the light between the branches in the canopies in the upper left corner bothered me. I wanted the focus to be on the cabin and the wild sea of flowers in front of it. So in Lightroom I closed the gaps by using the spot removal tool.

5 – Create Focus with Vignette

When you want to direct attention in an image, a vignette is your best friend. It frames and guides the viewers attention. In Lightroom there are numerous possibilities to play around with, until you have created a vignette that suits the image.

To Capture or to Create? That is the Question

I used to think that capturing an image without changing it was somehow more pure. But I had to reconsider this view. Editing this photo made it clear to me. Purely capturing the garden meant loosing the feeling and atmosphere of it. And atmosphere and mood are more important to me than documenting. This is, after all, not a documentary, but an artwork. I guess that leaves me somewhere between capturing and creating – at enhancing.

Blog post about photography and editing | Patinatur Studio

'The Fairytale Garden' (edited) | Cabin in cottage/forest garden | How Far Should You Go in Editing (blog post)

So where do you stand? Are you a purist capturer, a ruthless creator or an enhancer? How far do you go in editing? and why?

I’d love to hear.

Leave a comment!

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Chiaroscuro – A Tango Between Light and Darkness

Chiaroscuro is a moody and dramatic lighting style. It has been a style darling through more than 400 years of art history. The Baroque painters loved it. 20th Century cinematographers loved it. And modern photographers still love it. Let’s take a look at what all the fuss is about.

What is Chiaroscuro?

The Meaning of Chiaroscuro

‘Chiaroscuro’ is Italian and means light (chiaro) and dark (scuro). The French call it ‘clair-obscur’. However, outside France the style is known as ‘chiaroscuro’, so we’ll stick with that. Now we know what it means, but what does it look like?

What Does Chiaroscuro Look Like?

Even if you didn’t know the term ‘chiaroscuro’ beforehand, you can probably recognize it, when you see it. It is the style favoured by Old Masters such as e.g. Caravaggio, Rembrandt and Vermeer. Think ‘The Girl With the Pearl Earring’.

What characterizes chiaroscuro is a strong contrast between light and shadow. Select parts of the image are lit and the rest is encapsulated in darkness. In that way the light in co-operation with the framing darkness focuses the attention of the viewer. As a result your eyes are drawn to where the light falls.

The magic in chiaroscuro lies in the tension between light and darkness, in addition to the tension between light and what is lit.

It’s a duet of light and shadow. A tango between subject and light in portraits, between object and light in still lifes.

Photo Art | Dark and moody still life with flower and vintage edition of Tolstoy's 'The Devil'

'Tolstoys Blues' | Patinatur Studio

'Corona Pandemic' | Patinatur Studio

Chiaroscuro portrait of a boy | Patinatur Studio

'Kissed by the Sun' | Patinatur Studio

Chiaroscuro portrait of a little girl | Patinatur Studio

'Girl with a Blue Flatcap' | Patinatur Studio

The Origins of Chiaroscuro

It all started in the Baroque period in Italy in the late 16th and the 17th Century. Up until then the term ‘chiaroscuro’ had been used about the technique in drawing and painting where highlights and shadows are applied to the image in order to suggest 3D volume. But light and shadow were in for a serious overhaul.

Chiaroscuro á la Caravaggio

The painter Caravaggio took the use of light and shadow a step further. He turned up the volume for both light and darkness. Turned it up loud. Very loud! The shadows were darkened to a degree where they were sometimes pitch black. And the light in his paintings was bright as a spotlight. Often his images contained a shaft of bright light lighting up a select part of an otherwise dark space. Light and shadow were no longer just used for their sculpting qualities. The extreme contrast between light and shadow had become a style. Chiaroscuro, as we know it, had been born.

The shadows were darkened to a degree where they were sometimes pitch black. And the light in Caravaggio’s paintings was bright as a spotlight.

High contrast chiaroscuro light.
‘Saint Jerome Writing’, Caravaggio (1605-06).

Caravaggio’s Legacy in Painting

Caravaggio’s use of light and shadow has been hugely influential. He has inspired many old master painters, particularly in The Netherlands and in Spain. A group of Dutch painters, now known as “The Utrecht Caravaggisti”, saw his works on a trip to Italy and were very inspired. Therefore they brought the inspiration from Caravaggio home to the Netherlands, where it spread. This inspiration is seen in the works of Rembrandt and Vermeer, as well as in the still lifes of The Dutch Golden Age. In Spain Caravaggio has inspired prominent painters such as Velazquez, de Zurbarán and Goya.

Chiaroscuro painting by Dutch Golden Age painter Rembrandt

'The Anatomy Lesson of Dr. Nicolaes Tulp' (1632) | Rembrandt

Oil painting by Dutch Golden Age old master painter Vermeer

'Girl with a Pearl Earring' (1665) | Johannes Vermeer

Floral Still Life Painting by Jan Davidsz. de Heem

'Still life with Flowers in a Glass Vase' (1650-1683) | Jan Davidsz. de Heem

Bodegon still life with chiaroscuro lighting

'Still Life with Asparagus' (1697) | Adriaen Coorte

Still life oil painting by Spanish old master painter Francisco de Zurbarán

Still Life with Vessels (1645) | Francisco de Zurbarán

Chiaroscuro in Cinema

German Expressionism & Film Noir

The legacy from Caravaggio is not only seen in painting. He has inspired artist in all visual arts for centuries. 320 years after Caravaggio turned chiaroscuro into a style with his paintings, his influence became prominent in the relatively new art form, cinema. 2 cinematic styles, German Expressionism in the 1920s and Film Noir in the 1940s, are both in direct lineage from Caravaggio.

The Dark Side

The high contrast between shadow and light is particularly well-suited to black/white cinematography. Likewise is the dark and dramatic style also well-suited for exploring the dark side of human nature and society. This was often the case in the films of German Expressionism and Film Noir.

Shadows

The shadows function not only as a stylistic trait. They also add a natural sense of drama to the narrative. Because what lurks in the shadows? Only the lit parts are visible. Anything could hide in the shadows. Cast shadows are also very effectful. Often you will see a cast shadow from something or someone off-screen. This adds suspense, sometimes even horror. Silhouettes work in the same way. Take a look at the stills (image 1+2) from Nosferatu (1922) and Edward Scissorhand (1990), respectively. Both images exude horror and suspense and the parallel and kinship between the two films is obvious. Tim Burton is clearly inspired by ‘Nosferatu’ and references it in this shot.

Still photo from 'Nosferatu'. Example of chiaroscuro lighting in German Expressionist films.

'Nosferatu' (1922) | F.W. Murnau

Still photo from 'Edward Scissorhand'. Example of chiaroscuro lighting. Parallel to 'Nosferatu'

'Edward Scissorhand' (1990) | Tim Burton

Example of chiaroscuro lighting in the German Expressionist film 'M' by Fritz Lang

'M' (1931) | Fritz Lang

Example of chiaroscuro lighting in Hitchcock's 'Psycho (1960)

'Psycho' (1960) | Alfred Hitchcock

Still photo of Lauren Bacall. Example of chiaroscuro lighting in Film Noir

'The Big Sleep' (1946) | Howard Hawks

Still photo from 'The Godfather'. Example of chiaroscuro lighting in cinematography.

'The Godfather' (1972) | Francis Ford Coppola

Modern Uses of Chiarocsuro

As seen in the comparison between Murnau’s ‘Nosferatu’ (1922) and Tim Burton’s ‘Edward Scissorhand’ (1990), the use of chiaroscuro in modern times has in no way died out. Many film directors and cinematographers have a soft spot for chiaroscuro. Therefore still to this day, chiaroscuro remains a popular and effectful lighting technique, both in b/w and in colour.

When chiaroscuro is used today it is sometimes used to reference art history (as seen in Edwards Scissorhand). Other times it is used simply to add atmosphere, drama and an artistic quality to a film. Either way, chiaroscuro is always effectful.

Chiaroscuro in Photography

Painting with Light

Photography in its essence is painting with light. Where the painter uses paint to create images with, the photographer uses light. The painter uses different colours and shades to create the illusion of light and shadow in the painting. The photographer, as well as the cinematographer, only use light.

Low Key vs. High Key Lighting

In photography as well as in cinematography there are two main styles of lighting, low key lighting and high key lighting. Both can be achieved by using either natural light or artificial light.

High Key Lighting

Reduces shadows, so there is a low contrast between highlights and shadows.

multiple light sources
→ diffused light

» Bright and happy images

Low Key Lighting

Welcomes all types of shadows. There is a high contrast between highlights and shadows.

1 light source
→ directional light

» Dark and moody images

How Do You Create the Chiaroscuro Effect?

In order to achieve the chiaroscuro effect with high contrast between light and shadow in photography and cinematography, you have to use low key lighting.

Using a single light source give the directional light that is such an integral element of the style. Without that there would be no shadows. And without shadows, there would be no chiaroscuro.

Moreover, in addition to creating the chiaroscuro effect as you shoot your image, you can also enhance the chiaroscuro look when you edit your image.

Why I Love Chiaroscuro

Maybe it’s because I’m a moody soul. Maybe it’s because I’m a drama queen. Who knows?

What I do know is, that the moody atmosphere in chiaroscuro get’s me every time. It’s powerful. It packs a punch. And I’m a sucker for it!

High key lighting can be beautiful, but it doesn’t give me the emotional response that I get from low key chiaroscuro lighting.That’s why I keep returning to the Dutch Golden Age painters for inspiration – both for portraits and for still lifes.

See my chiaroscuro still lifes

See my Chiaroscuro portraits

See a collection of chiaroscuro images

What are your thoughts and feelings about chiaroscuro? I’d love to hear.

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Learn to Master Manual Mode

If you get 1 wish for the new year, 1 resolution to improve your life as a photographer – choose to learn to master the manual mode. Mastering the manual mode will give you the keys to the photographic kingdom. It will make you king or queen and turn your camera into your humble servant.

Overwhelming Possibilities

Many amateur photographers avoid the manual mode. I know I did for many years. It’s really overwhelming. A DSLR camera has endless possibilities. But this also makes it quite intimidating to try your hand at manual mode as an amateur.

Let’s get one thing straight. When I say amateur, I don’t mean unaccomplished, untalented or any other negative “un”-word. I mean someone who loves photographing. Someone who photographs, simply because they can’t not photograph.

Unexplored Territory – Just Waiting to be Explored

As an amateur photographer, you tend to focus on select types of photography and select techniques. In your chosen fields you can become really good. Even match professionals. But there are other areas of photography that you don’t explore. This is not a bad thing. In fact, it’s a great thing. Unexplored territory just waiting be explored. So many new techniques to explore, that will enable you to take many more types of photographs. If you learn new techniques, you drastically improve and increase your photographic range.

Capture Your Creative Vision

The biggest difference you can make for yourself as a photographer is to learn to master manual mode on your camera. When you master manual mode, your camera becomes a tool that can capture your creative vision. And it’s a lot more fun to choose how you want an image, than it is to just click in automatic mode and see what your camera chooses for you.

Once you’ve felt the thrill of making a creative choice, setting the camera to do as you please and seeing your vision carried out, there’s no going back. Who wants to be a slave, when you can be king or queen?

So, what do you say? Let’s make 2021 the year when you crack the code to the manual mode and gain the keys to the photographic kingdom

Visual Storytelling in Still Life Photography

Types of Storytelling in Still Life Photography

Statement

Vanitas

Memento Mori

Comment

Characterization

Development

Methods of Storytelling in Still Life Photography

Symbolism

Juxtaposition

Progression

Analysis of Storytelling in Still Life Photos

‘Public Enemy #1’

‘Springtime Vanitas’

‘The Explorer’ & ‘The Voyer’

‘Corona Pandemic’

‘The Life Cycle of a Daffodil’

‘The Echo of Summer’

‘Nature’s Waste’

‘Bloom Is Just a Phase’

A Still Life Is Not Just a Still Life is Not Just a Still Life

Further Readings

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Adjusting the Image in Editing

Lightroom or Photoshop?

Creating the Image in Editing

Perception Versus Reality

The Fairytale Garden & The Ruthless Viewfinder

Altering the Image in Editing

1 – Adjust the Light

2. Tame Greens

3 – Remove Unwanted Elements

4 – Fill Out Gaps in Trees

5 – Create Focus with Vignette

To Capture or to Create? That is the Question

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What is Chiaroscuro?

The Meaning of Chiaroscuro

What Does Chiaroscuro Look Like?

The Origins of Chiaroscuro

Chiaroscuro á la Caravaggio

Caravaggio’s Legacy in Painting

Chiaroscuro in Cinema

German Expressionism & Film Noir

The Dark Side

Shadows

Modern Uses of Chiarocsuro

Chiaroscuro in Photography

Painting with Light

Low Key vs. High Key Lighting

High Key Lighting

Low Key Lighting

How Do You Create the Chiaroscuro Effect?

Why I Love Chiaroscuro

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Overwhelming Possibilities

Unexplored Territory – Just Waiting to be Explored

Capture Your Creative Vision

Trine Mandal Mortensen

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