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Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images

21 Jan

The post Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

backlighting in photography the ultimate guide

When used creatively and intentionally, backlighting can be an incredible tool to take your photography to the next level.

However, the concept of backlighting seems somewhat counterintuitive.

After all, when your subject is backlit, the main source of light is coming from behind, not from the front – and conventional photography wisdom generally says that your subject should be well-lit from the front.

So how can you create backlighting that looks good? How can you capture backlit images that really stun the viewer?

That’s what this article is all about.

Let’s dive right in.

Backlighting spider
Nikon D750 | Nikon 50mm f/1.8G | 50mm | 1/250s | f/4 | ISO 1100

What is backlighting?

In order to understand how to use backlighting, you should know what the term means.

So what actually is backlighting?

The following diagram depicts a standard photography scenario with the main source of light behind the camera.

frontlighting diagram

Using this type of setup, the subject is well-lit, and there is a shadow cast on the wall directly behind the subject. The result is a detailed, evenly-exposed image that conforms to the basic principles of photography.

In contrast, backlighting reverses the subject and the light source.

The light goes behind the subject (and points toward the camera), which causes the shadow behind the subject to vanish. Backlighting results in a photograph where the subject is usually much darker than normal.

Backlighting diagram backlight

Also, placing the light behind the subject often results in a silhouette or glow effect. This makes the final image look different from a normal photograph and can be jarring, at least at first.

But with a little practice, you can use this technique to create images that are unique and stand out from the crowd.

Backlighting in portraits

Backlighting is a tried-and-true portrait photography technique – one that can get you some stunning photos.

How does this work?

It helps to see some actual portrait photos that illustrate the concept of backlighting versus frontlighting. This first image is a fairly standard portrait shot:

maternity frontlit
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 122mm | 1/350s | f/4 | ISO 800

The subjects are lit from the front, and the image is evenly exposed without any harsh shadows. It’s a great photograph, and it meets all the normal criteria for a maternity shot someone would want to put in a frame or a photo book.

Now, let’s look at another photo of this couple, this time shot using backlighting:

Backlighting maternity couple
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 180mm | 1/3000s | f/2.8 | ISO 400

The parents-to-be are shrouded in shadow (which I was able to boost in Lightroom, thanks to the RAW file format), and the woman’s hair is glowing with a brilliant golden halo. The man has a glowing outline around his head, and the entire scene has a slightly mystical quality to it.

This is all due to the creative use of backlighting.

When you light your subjects from behind, you can get images like this, which pack glowing hair, brilliant outlines, and a beautiful background. This type of photo does take practice, but with a little trial and error, you can use backlighting to get similar results.

Here’s a head and shoulders portrait of a young man:

Backlighting senior portrait frontlit
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/250s | f/2.8 | ISO 100

The sunlight is coming from the front, his face is evenly lit, and the background is colorful and easy to see.

Now compare that image to its backlit counterpart:

Backlighting senior portrait
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/180s | f/2.8 | ISO 320

His hair suddenly looks like it’s on fire, and his ears have a bit of a glow. The right side of the background is lush and green, whereas the left side, where the sun is positioned, is almost entirely blown out. Even the man’s shoulders are outlined in gold, and the photo has an energy to it that the frontlit photo just can’t match.

As you can see, knowing how to use backlighting to your advantage can result in portraits that stand out from the pack. It may be a little tricky at first, especially if you’re using natural light instead of studio light.

But with a little practice, you’ll get the hang of backlighting – and you’ll get the type of pleasing reactions from your clients you never knew you were missing.

Backlighting isn’t just for portraits, though! It can be used in a variety of situations for creative, inspiring images, including nature photography:

Backlighting in nature

To illustrate the power of backlighting for nature photography, check out this backlit landscape image:

Backlighting sunrise pine trees
Nikon D7100 | Nikon 35mm f/1.8G | 35mm | 1/3000s | f/4 | ISO 200

Once you start looking for the light, you’ll notice shots like this everywhere. In fact, one of the best ways to learn backlighting is to go out in nature and simply experiment by putting your subjects between the camera and the sun.

Sunrise and sunset are great times to try out backlighting. Look for situations where your subjects are at a bit of a distance; it also helps to have a general idea of where the sun will be at dawn and dusk. Metering with backlight is tricky, so I like to use Aperture Priority to control the depth of field and then dial in exposure compensation to get my shots as light or as dark as I want.

A rule of thumb I like to use in these situations:

Expose for the highlights, then bring up the shadows in Lightroom. Basically, try not to make your photo too bright, because you may end up with clipped highlights (i.e., white, informationless areas that cannot be darkened).

Backlighting sunset wind turbines
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/4000s | f/22 | ISO 100

You can also look for more mundane subjects on which you can practice, like interesting leaves:

backlit leaves
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/1500s | f/2.8 | ISO 100

Remember:

When shooting in nature, the main source of light is the sun, but you don’t have to use direct sunlight. In the image above, the mid-afternoon sun made these leaves glow. The sun isn’t in the frame, but it still lit the leaves from the back and gave me a fun photo opportunity.

I used a similar technique for the image below. You can see how my use of backlighting made this large blade of grass appear almost translucent. The shot was not an accident, and I was only able to capture it by looking for new ways to shoot familiar subjects. In this case, I was only photographing a simple piece of grass!

Backlit grass
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/500s | f/4.8 | ISO 100

Most people would pass by this scene without a second thought, but it just goes to show how backlighting can give new life to even mundane subjects.

Silhouette backlighting

One interesting way to use backlighting is to obscure your subject altogether. This technique is known as silhouette backlighting, and it can be a fun and creative way to showcase people, animals, and other objects.

How does this work?

You create silhouette images by shooting directly into the light source – which completely darkens your subject. The result is a photo that shows a shape or outline instead of a well-exposed subject.

To get the image below, I pointed the camera at my main source of light, then waited for someone to walk by. The fountain itself doesn’t emit light, but instead reflects what comes from the sun – and it was so bright that it completely darkened my subject. The image tells a story, even without seeing any details of the person.

silhouette person fountain
Nikon D7100 | Nikon 85mm f/1.8G | 85mm | 1/1000s| f/4 | ISO 200

I used a similar backlighting technique to get this shot of a young woman in the early morning:

silhouette person sunrise
Nikon D200 | Nikon 50mm f/1.8G | 50mm | 1/6000s | f/4 | ISO 200

I knew where the sun was positioned, so I waited patiently until a person walked into the frame. By putting my subject directly between the camera and the main source of light, I was able to capture a silhouette. The end result is much more interesting than a normal, properly-exposed image taken in broad daylight.

Silhouettes aren’t just for people. You can use silhouette backlighting for a variety of subjects; all it takes is a little creativity and a willingness to try something different.

Some type of Manual mode (either full Manual or Aperture Priority with exposure compensation) is best for these shots. It’ll give you better control over the final image, and you won’t need your camera to make exposure decisions in tricky lighting conditions.

goose fountain
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/4000s| f/2.8 | ISO 100

One of my favorite ways to use silhouette backlighting is to create sun stars, like this:

Backlighting sun flare
Nikon D200 | Nikon 50mm f/1.8G | 50mm | 1/400s | f/16 | ISO 200

I start by putting a large building between my camera and the sun.

Then I move around until the sun is poking out from behind a corner of the building. I shoot with a small aperture, usually f/8 to f/11, and I shift the camera position until I get the shot just right.

This technique takes practice, but you can easily get the hang of it in under 15 minutes.

Use Aperture Priority and exposure compensation, and look for ways to use the light that might not have occurred to you before.

Backlighting in photography: Conclusion

If you’ve never experimented with backlighting, then I encourage you to give it a try and see what happens.

You might think shots like the ones in this article are beyond your skills, but all it takes is a bit of practice, a dash of patience, and a willingness to try something different.

Backlighting is a fun, creative technique, and you might just find yourself using it far more than you expected!

Have you ever tried backlighting? What did you think of it? Share your thoughts in the comments below!

The post Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Sensor breakthrough: Sony has developed a backlit CMOS sensor with global shutter

17 Feb

Sony has made something of a breakthrough in sensor development, announcing a new backside-illuminated stacked sensor that can read out every pixel simultaneously to enable global shutter. While the company has only made it work with a 1.46-million-pixel sensor so far, the nascent technology has significant potential.

The sensor is able to read out from every pixel instantly because each pixel has its own analog-to-digital converter (ADC) buried in a ‘bottom chip,’ which is stacked beneath a ‘top chip’ containing the active, photosensitive pixels. This allows all exposed pixels to be read simultaneously, rather than sequentially row-by-row as is done with traditional CMOS sensors containing far fewer ‘column parallel’ ADCs.

This instant read-out avoids the rolling shutter distortion caused by the time delay as each row of pixels is recorded one after the other. In most existing chips, fast-moving objects become warped as they progress across the frame, because the pixels at the top of the sensor were read earlier than those at the bottom. This can also lead to banding under certain types of artificial lighting.

Global shutter—reading out all of the pixels at once—solves both these problems.

Shot with an exposure time of 0.56ms

Sony claims its sensor is the first back-illuminated high-sensitivity CMOS sensor with pixel-parallel ADCs and a pixel-count greater than 1 million.

While one million pixels may not be much good to photographers, this is a big step towards the production of a photographic quality sensor. Chips with ‘global shutter’ need only an electronic shutter to record undistorted action pictures, boast the ability to use short electronic shutter speeds with flash, and are able to work under fluorescent and solid state (LED) lighting without banding.

In the end, a global shutter sensor like this be useful for both still and movie photographers.

It’s also a major improvement over current global shutter CMOS sensors, which have a photosensitive pixel, and then a ‘storage’ pixel that the charge is transferred to after the exposure is made. This storage pixel holds the charge until the column ADCs read out, row by row. The problem with this approach is that your active pixel area now has a bunch of dead space per pixel taken up by the ‘storage pixel’.

By going BSI and stacked, we believe this technology eliminates the need for the storage pixel entirely, because you can read all the pixels at once at the end of your exposure.

The company says it has had to include 1000x more ADCs than it would normally in a 1MP sensor. The extra ADCs would require far more current, so Sony developed low current, compact ADCs for this chip. Additionally, new high speed data transfer construction allows for the fast read and write speeds required to operate all the ADCs in parallel and transfer the digital data.

While it might be some time before one is ready for use in a standard camera, this is a big step forward for global shutter sensor technology, which has traditionally been plagued by higher noise levels and lower dynamic range.

When will we see it scaled up to larger, smaller pixel pitch higher-resolution sensors? Hard to tell, but we’re keeping our fingers and toes crossed.

Press Release

Sony Develops a Back-Illuminated CMOS Image Sensor with Pixel-Parallel A/D Converter That Enables Global Shutter Function

Sony CorporationSony Semiconductor Solutions Corporation Tokyo, Japan – Sony Corporation today announced that it has developed a 1.46 effective megapixel back-illuminated CMOS image sensor equipped with a Global Shutter function*1. The newly developed pixel-parallel analog-to-digital converters provide the function to instantly convert the analog signal from all pixels, simultaneously exposed, to a digital signal in parallel. This new technology was announced at the International Solid-State Circuits Conference (ISSCC) on February 11, 2018 in San Francisco in the United States.

CMOS image sensors using the conventional column A/D conversion method*2 read out the photoelectrically converted analog signals from pixels row by row, which results in image distortion (focal plane distortion) caused by the time shift due to the row-by-row readout.

The new Sony sensor comes with newly developed low-current, compact A/D converters positioned beneath each pixel. These A/D converters instantly convert the analog signal from all the simultaneously exposed pixels in parallel to a digital signal to temporarily store it in digital memory. This architecture eliminates focal plane distortion due to readout time shift, making it possible to provide a Global Shutter function*1, an industry-first for a high-sensitivity back-illuminated CMOS sensor with pixel-parallel A/D Converter with more than one megapixel*3.

The inclusion of nearly 1,000 times as many A/D converters compared to the traditional column A/D conversion method*2 means an increased demand for current. Sony addressed this issue by developing a compact 14-bit A/D converter which boasts the industry’s best performance*4 in low-current operation.

Both the A/D converter and digital memory spaces are secured in a stacked configuration with these elements integrated into the bottom chip. The connection between each pixel on the top chip uses Cu-Cu (copper-copper) connection*5, a technology that Sony put into mass production as a world-first in January 2016.

In addition, a newly developed data transfer mechanism is implemented into the sensor to enable the high-speed massively parallel readout data required for the A/D conversion process.

*1:A function that alleviates the image distortion (focal plane distortion) specific to CMOS image sensors that read pixel signals row by row.*2:Method where the A/D converter is provided for each vertical row of pixels in a parallel configuration.*3:As of announcement on February 13, 2018.*4:As of announcement on February 13, 2018. FoM (Figure of Merit): 0.24e-?nJ/step. (power consumption x noise) / {no. of pixels x frame speed x 2^(ADC resolution)}.*5:Technology that provides electrical continuity via connected Cu (copper) pads when stacking the back-illuminated CMOS image sensor section (top chip) and logic circuits (bottom chip). Compared with through-silicon via (TSV) wiring, where the connection is achieved by penetrating electrodes around the circumference of the pixel area, this method gives more freedom in design, improves productivity, allows for a more compact size, and increases performance. Sony announced this technology in December 2016 at the International Electron Devices Meeting (IEDM) in San Francisco.

Main FeaturesGlobal Shutter function*1 achieved in a high-sensitivity back-illuminated CMOS image sensor by using the following key technologies:

Low-current, compact pixel-parallel A/D converter In order to curtail power consumption, the new converter uses comparators that operate with subthreshold currents, resulting in the industry’s best-performing*4, low current, compact 14-bit A/D converter. This overcomes the issue of the increased demand for current due to the inclusion of nearly 1,000 times as many A/D converters in comparison with the traditional column A/D conversion method*2.

Cu-Cu (copper-copper) connection*5 To achieve the parallel A/D conversion for all pixels, Sony has developed a technology which makes it possible to include approximately three million Cu-Cu (copper-copper) connections*5 in one sensor. The Cu-Cu connection provides electrical continuity between the pixel and logic substrate, while securing space for implementing as many as 1.46 million A/D converters, the same number as the effective megapixels, as well as the digital memory.

High-speed data transfer construction Sony has developed a new readout circuit to support the massively parallel digital signal transfer required in the A/D conversion process using 1.46 million A/D converters, making it possible to read and write all the pixel signals at high speed.

Articles: Digital Photography Review (dpreview.com)

 
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24 Dynamic and Dramatic Backlit Images

12 Sep

Light is key in photography and the direction of light an important factor in creating dramatic photos. When the subject is backlit, or the light is coming from behind it towards the camera, it can make for very dynamic and interesting images.

Like these:

Jason

By jason

Rylee Isitt

By Rylee Isitt

Randy Robertson

By Randy Robertson

Daniel Oines

By Daniel Oines

Matteo

By Matteo

Ignacio Abé

By Ignacio Abé

Kohei314

By Kohei314

Jørgen Schyberg

By Jørgen Schyberg

Brynn Tweeddale

By Brynn Tweeddale

Stavros Markopoulos

By Stavros Markopoulos

Dave Gough

By Dave Gough

Victor Camilo

By Victor Camilo

Markus Spiske

By markus spiske

Myles Tan

By Myles Tan

Keith Davenport

By Keith Davenport

M.G.N. - Marcel

By M.G.N. – Marcel

Steve Corey

By Steve Corey

Bill Gracey

By Bill Gracey

Oiluj Samall Zeid

By Oiluj Samall Zeid

Tambako The Jaguar

By Tambako The Jaguar

Natalie Barletta

By Natalie Barletta

Jorge Dalmau

By Jorge Dalmau

Jim Staley

By Jim Staley

Anne Worner

By Anne Worner

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Cutting Edges: Layered Back-Lit Paper Art Gets Deep & Dark

09 Apr

[ By WebUrbanist in Art & Sculpture & Craft. ]

paper art cave people

Together, Hari & Deepti (Deepti Nair and Harikrishnan Panicker) turn sets of two-dimensional cutouts into vivid and haunting three-dimensional dioramas, often set in shadowy fantasy spaces.

paper above and underground

paper sunken ship sea

Despite the darkness of their subject matter, in ordinary lighting conditions there is almost nothing to be seen of these pieces. The work waits in the shadows, so to speak, popping out when you turn out the lights and turn on the LEDs inside each individual light box.

paper artist in context

paper art daylight

paper cut out art

Loosely analogous to a book, perhaps, the story plays out in the space between the pages, each one individually flat but, together with illumination, adding up to something more than the sum of its parts.

paper art fantasy scene

paper art on display

While most of their works are relatively small, a recent project challenged them to build at a much bigger scale, creating an entirely monstrous (pun intended) New York cityscape (shown below).

paper artist giant sized

From the artists: “Paper is brutal in its simplicity as a medium. It demands the attention of the artist while it provides the softness they need to mold it in to something beautiful. It is playful, light, colorless and colorful. It is minimal and intricate. It reflects light, creates depth and illusions in a way that it takes the artist through a journey with limitless possibilities.”

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[ By WebUrbanist in Art & Sculpture & Craft. ]

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Rediscovering Backlit Subjects

25 Sep

Back-LightingPhoto by naughton321

“Look where the sun is coming from – then position yourself with your back towards it so that it light up your subject’s face.”

This was the very first piece of photographic advice that I was ever given as a child entrusted with the family’s camera for a school excursion.

The intention behind it was good and in many photographic situations over the years it has actually served me well.

However…. sometimes in photography it can be easy to get trapped in a mindset that actually limits the potential of your shots.

My suspicion is that many people are being limited by the above piece of advice – lighting your subject from the front and avoiding back lighting at all costs.

The problem with ignoring back lighting images is that:

  • backlight can add drama to an image
  • backlit images can show the delicacy of a subject (think transparent or translucent things like flowers or insects)
  • backlight can help create real mood in a shot
  • backlit images can highlight details on the edges of subjects
  • backlight can reveal textures that might previously have been hidden
  • backlit images can show off the shape and form of a subject
  • backlight can create shadows that add points of interest to an image

I’m not arguing that backlit subjects are the way you should approach every shot – but ignoring it as an option ca leave you potentially missing out on a very powerful technique.

Check out some of the following images that show the beauty of power of ignoring the age old advice of always lighting a subject from the front.

PS: just because your subject is backlit doesn’t mean you need to forget about how they are lit from the front. Using a Fill Flash and/or some sort of reflector is often a great way to get the balance right for a well exposed shot.

BacklightPhoto by Ty-Dan

BacklitPhoto by benefit of hindsight

Back-LightPhoto by ‘SeraphimC

Back-LitPhoto by limonada

BacklightingPhoto by serni

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Rediscovering Backlit Subjects


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Backlit Photography 101: Secrets of Expressive Backlit Portraits

08 May

Do you want to avoid an overworked edit in order to obtain golden portraits with sunrays and lens flares? Shooting against the sun is challenging, however three factors and a bit of practice can easily transform your backlit photography. One of the leading rules in elementary photography is to avoid shooting against the sun. Usually you will end up with Continue Reading

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