The very expression "against the light" implies something out of the way and difficult. This is a pity as it makes many cameramen keep to the safe rule of having the light source behind the camera when they could get more attractive pictures with the light source in front.

There are many good reasons for taking pictures against the light. One is to deal with messy and fussy backgrounds or even ugly plain ones - e.g. brick walls.

The sun produces a bright rim of light around the edges of objects and this rim-lighting is a further effect that helps to make the subject stand out from its background. In addition, the rim of light makes the subject appear attractively luminous. This luminosity is the greatest charm against the light shots. It can be increased more still by using a soft focus lens or fitting a diffusing filter before the camera lens. When the image is diffused in this way, the luminosity pervades even the shadow areas.

Shielding the Lens. A really efficient lens hood is always advisable but against the light it becomes an absolute necessity. When lens hoods leave the factory they are usually dull black inside, but if after long use or by accident they became bright inside they must be given a coat of matte black paint or they will cause the very trouble they are intended to prevent.

When shooting so much into the sun that even the lens hood cannot shade the lens completely, it is often possible to get over the difficulty by choosing a camera position in the shade of a building, tree, or even a telegraph pole. An assistant can hold a hand or a hat to shield the camera if there is no natural shade. Of course, care must be taken not to intrude into the field of view. If the camera is on a tripod, there is no difficulty in shielding the lens in this way with the free hand, and even without a tripod this is possible.

Lens surfaces must be free from dust and finger marks.

Suitable Subjects. People, boats, and in fact most subjects and all pictures of activity come out well against the light. Pictures of snow and most subjects that owe their appeal to texture or sparkle are always improved by being taken against the light. With foliage, flowers, icicles and anything thin enough to let the light shine through, there is a striking translucent effect which is most attractive. Sun shining on steam or mist can be successfully exploited in against-the-light shots.

When the sun hides behind clouds or shows through a thin cloud or through mist it can safely be included in the picture. Even the dullest landscape can be made into a successful shot by putting the horizon at the bottom of the picture and making the sky the main theme with the sun painting dazzling rims around the clouds. This technique is particularly effective with sunsets.

Sunbeams shining through windows into a room make fine pictures and it can be worth while to shake a mat or rug to raise some extra dust to give the beams more brilliance.

Balancing Contrast. When taking close-ups against the light there may be too much contrast between light and shadow areas for the CCD to cope with both extremes. In such cases it is an advantage if the shadows can be brightened by the use of a reflector or fill-in light. The exposure for the daylight and for the fill-in must be balanced to avoid over lighting the shadows and so destroying the natural against-the-light effect.