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Click on the Low Key Portrait Related Link below. This example is extremely low key. Not all low key portraits are necessarily this moody. Study the catchlight in the only visible eye. It's useful to know that you can often identify the light source used in a portrait by studying the catchlights in the eye(s). This was lit with a single small slightly rectangular soft box positioned high and to the subject's left. You can see it's a soft light from the indistinct edges to the shadows. I would guess the room was painted a dark color or was very large (or even outdoors at night) since there is no off side reflection from any nearby wall. There was no shadow fill of any kind used, not even a reflector, so there is deep shadow, no detail anywhere except where there is illumination, but if you could see the original print of this you'd be able to count the pores in the sitter's skin. Do not make the mistake of underexposing to get this effect; you'll just muddy the shadows.
For comparison, click on the High Key Portrait Related Link. The young woman here has a very large softbox (you can see its shape in her catchlights) positioned very close to her right front. To her left is a large white reflector, and she is in front of a brightly lit white background which may be wrapped over her head, cyclorama style. She is absolutely bathed in light from every angle. She is also blond and wearing light clothing, but don't imagine that you can't make high key portraits of black people. You absolutely can, exactly the same way. This effect may be enhanced by slight (very slight) overexposure. There is no visible detail in her skin, and the portrait is so shadowless you can almost not see her nose, yet the outline is all there. This is classic high key.
Note especially: The thing that is common to both portraits is that the first thing you see is the eye(s). The eyes are the windows of the soul.
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