Some reasons that come to my mind for the bias toward high-key could be that low-key doesn't tend to reproduce well on a regular, non-calibrated computer monitor; it doesn't print as well on cheaper digital printers; and it doesn't scan as well on cheaper scanners (negatives OR prints).

If it really is a low-key kind of scene in the first place - as opposed to a subject or scene that has a more 'normal' range of tones or values, and is PhotoShop'ed-down to low-key - then it won't TAKE well on cheaper (or older) digital cameras ('posterization', 'dark noise', etc.).

From what I've seen, digital has not been so freindly toward low key imaging.

FILM can do a beautiful job with low-key, but there is still some special tecnique involved. working 'down on the toe' of a film's transfer curve can be tricky buisness - the whole look can change in just half-stop increments of exposure.

I'm not all that experienced with it yet myself, but I have some understanding from my own exposures, and learning from my printer, Fred Fischer, and from a more technical 'book' understanding from study.. When you work down near the toe, contrast changes continuously with small, incremental exposure/density changes (this smooth, constant rate-of-change of contrast, and its appearance on the transfer curve is WHY they call it 'the toe'). because of this, with print film there's a big difference between shooting it low key (so-to-say) in the first place, and doing it mainly in the darkroom - and for those film-shooters not serious enough about their printing work (yes, I mean to sound finger-wagging harsh when I say this!) to take their work to a GOOD CUSTOM LAB (or, of course, have their own darkroom), then you don't get that option. ..But many DO prefer to 'do it in the camera' anyway - it is definatly a different look (but you'll run into trouble at you're handy-dandy mini-lab with that too when they so kindy 'correct your exposure' for you).

Transparencies can render exraordinary low-key images, but exposure is really tricky with that.

In the realm of B&W silver prints - well I hope everyone knows that the B&W fine-art photogs can be downright OBSCESSIVE about the qualities of their shadow detail. Now if you ask me, the ultimate in a subtle, intoxicating low-key experience is a good silver print made from the right negative (usually medium or large format, unfortunately for me) of the right subject in the right light, at the right moment; and when the print is VIEWED in good light. Oh baby.

Have you ever been experienced? (All of you fellow Black and White shooters please don't forget to reply.......
Anybody there?)

Joe
Milwaukee, Wisconsin USA