In my earlier article about backlit photography, I looked at what backlighting can bring to a portrait. This follow-up collects a few practical suggestions that helped me improve the results.
Control flare
Lens flare is not always a bad thing, but I often prefer a clean, high-contrast image. Your position in relation to the sun makes a considerable difference. The subject does not have to stand directly between you and the sun. Try moving yourself and the subject so that the light comes from an angle of around 45 degrees. The subject can still be beautifully backlit, while the lens is less exposed to direct sunlight.
If you need to shoot directly towards the sun, try hiding it behind the subject, your hand, a building or a tree. With foliage, a little light passing through the leaves can create a soft glow. Be careful not to let a strong source of light wash out the whole frame.
Use a reflector
A reflector can make a significant difference to a backlit portrait. For close-ups, use the white side to bounce some light back into the subject’s face. It can also create attractive catchlights in the eyes. Reflectors can be awkward in windy conditions, but with a little practice they are easy to position.
Wearing a light-coloured top can sometimes provide a little fill light when working close to the subject. It is not a replacement for a reflector, but it can help. Be aware that strongly coloured clothing may introduce a colour cast into the reflected light.
Post-processing
Backlit photographs often benefit from careful RAW processing. Start by setting the white balance, then adjust exposure and contrast to suit the image. You may need to recover highlights, lift shadows or reduce clarity slightly if you want a softer look. Avoid pushing every slider to its limit; the aim is to retain the atmosphere that made you take the photograph in the first place.
A subtle graduated adjustment can help balance the brightness across the frame or add a little depth. Use it selectively so that the effect does not become obvious.
Use a lens hood
Use the lens hood. It helps prevent stray light from reaching the front element and can improve contrast when working near the sun. If you do not have one, shade the lens with your hand or another object, taking care not to let it enter the frame. The travel photography hacks article includes a few improvised ideas.
Try to get it right in camera
A fixed white-balance setting can help maintain consistency during a session. I used to start around 5,580K when shooting shortly before sunset, but this is only a starting point. The colour of the light changes as the sun gets lower, and cloud cover and surroundings also influence the result. Adjust the Kelvin value to suit the scene rather than treating one number as a recipe.
Look for even backlighting and avoid distracting hot spots where possible. Small changes in your position can make a significant difference.
It is all about the lens
Some lenses handle flare better than others. Choose a lens that gives you the character you want: perhaps clean contrast, or perhaps a softer haze with warm colours. I have always enjoyed the rendering of some older Minolta lenses. My Minolta 80–200mm APO HS f/2.8 is a good example. Despite its age, it produces the kind of bokeh I enjoy.
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