Against The Light - (including Ten Images)

[William W]

In this thread here: LINK, Antonio Correia wrote -

" . . .there’s something I really enjoy although it’s not always possible: photographing against the light.
It often produces striking and finely contoured images, which I particularly like but, as we know, the opportunity isn’t always there."

Antonio's images in that conversation piqued my interest, and his comment (above) got me thinking all the more . . . . "yes, I like composing against the light too: and really like using only Available Light".

I think years of Studio-work and using Flash Fill for "jobs", has made me an "Anti-Flasher".

Below are some of mine made basically "Against The Light", not all are technically backlit, those side-lit however were done for Chiaroscuro. All images use only Available Light.

My endeavour in posting these samples is to stimulate conversation, discussion, other examples on this topic, basically wherever the conversation goes: making the point I am not seeking a critique, yet I don't mind, if that's what happens.





















WW
All Images © AJ Group Pty Ltd Aust 1996~2024 WMW 1965~1996 and 2024~2025

[billtils]

An interesting and varied set William. My contribution to the comments, which reflect my taste and are generally subjective:

1: I like it - nothing to add to that
2: Only just qualifies as "against the light" and would be a much stronger image if you crop out the people and signs at the left
3: My favourite - composition, subject, and exposure are excellent
4: Yes, it is "against the light" but the weakest of the set
5: Not an original take, but kudos on the exposure - nicely done
6: I like how the lighting accentuates the figure, and I would disagree with the average camera club judge who would criticise the hand and foot - they create an almost abstract image
7: No comment
8: I've seen more interesting shots of "the coat hanger" and it looks more like "with the light" than against it.
9: Ok
10: Different and challenging but I appreciate both of these elements - another almost abstract composition.

[AntonioCorreia]

No time to comment now...
Later I will be happy to

[whited3]

Thanks Bill.

There's something about #1 I really like. Its a bit painterly and does not look at first glance like a photo. I'm not sure it fits the theme as I'd expect the window frame to be dark.

#3 & 10 have great shadow and contrast, and both I think tell a story if you want to delve in to the scenes.

I see the technical aspects of the other images but they don't have the impact of those above.

[mugge]

My take.

1: I like it
2: Crop annoying object left corner bottom and people left
3: As against the light it works
4: Do not like
5: I like it
6: I really like this image. I thought of removing the skirt right hand corner but nah! leave it
7: Really do not like
8: Do not like
9: Ok
10: Do not like composition

Cheers Ole

[AntonioCorreia]

Great initiative, Bill. An excellent proposal for discussion and thank you for launching it.

I’d like to share a brief reflection on what I personally understand by photographing against the light, or à contre-jour, if we choose to use that French expression which nicely captures the concept.
Of course, this is just my own perspective, without any claim to technical precision. I might even be seeing the matter in a limited or simplistic way, but to me, against the light implies an intense, direct, almost cascading light entering the lens.
It’s that challenging situation where the photographer tries to retain detail in the shadows, even when the frontal light source seems impossible to manage. That’s not to say that all good contre-jour images have to follow this formula, far from it. But this is the idea that comes to mind when I think of this kind of photography and attempt it myself.

In that sense, I’ve selected some of your images that, in my view, come closest to this approach. So, allow me to share a few personal observations:

Despite a slightly blown-out patch of sky — which is natural with this kind of light — the reading of the structure is very well achieved. The details are all there, and the composition remains cohesive. Even if it’s possibly a blend of exposures, the final balance works really well.

I really like this one. The sun clearly enters the lens, but without distracting flares. There’s cleanliness, control and effective light management.

This one struck me the most. A true contre-jour, with intense light hitting the bride from the front, yet still preserving detail in the shaded part of her figure. The result has a poetic, almost dreamlike feel — it makes me imagine the beginning of a wedding or a moment of introspection before the ceremony.
Here, the light is not just technical — it’s narrative, emotional.

Just to add: even though I haven’t commented on all the images you shared, I do think they all maintain quality and deserve attention. In this case, I simply focused on those that fit, from my point of view, within the against the light theme.

To round off the discussion, I’ll also leave some of my own images below, purely as an illustration of my personal take on this way of using light.
That’s all they are, a contribution to the conversation, fully aware that mastering this type of light is always a major challenge.
The quality of the images decreases as we go down the post, which, interestingly and perhaps even because of that, coincides with the quality of the equipment used for the capture.

Thanks once again for sharing and for starting this conversation.
Cheers !

[DanK]

Bill,

Thanks for posting. I like them all. A very diverse set, which shows your skill.

Dan

[Round Tuit]

Bill,

Thanks for posting. I like them all. A very diverse set, which shows your skill.

Dan

I agree with Dan that they are a diverse set that clearly demonstrate that you know what you are doing. I cannot say that I like them all but it has to do with my taste, not the quality of the photos.

André

[AntonioCorreia]

It was in the late afternoon, with the sun already beginning to set, that I took these pictures yesterday.
I did indeed try a backlight effect, not in an aggressive way with the light powerfully flooding the lens, but rather arriving softly, contained, and precisely shaping each element, highlighting flowers and leaves with an almost tactile outline.

It's this gentleness that makes the whole thing so captivating; the light doesn't dominate, it accompanies the shadows, remaining balanced, without swallowing detail or strength.
Appropriate digital editing goes without saying!

I feel there's a strong visual impact in these images, not through excesses, but through the control in the rhythm of the stems, in the textures of the cacti and flowers, in the vibrancy of the green and magenta in the colour palette.
It's a happy balance between naturalness and attention, something I didn't force, I simply found it by searching.
There wasn't much wind.

[billtils]

An additional comment on number 4:

Yes, it meets the brief rather well. However, an image can be technically good but without appeal to the viewer and that sums up how I feel about this one.

[AntonioCorreia]

Bill, I noticed your attention shifted to William’s fourth image.
Upon rereading his original post,

In this thread here: LINK...
My endeavour in posting these samples is to stimulate conversation, discussion, other examples on this topic, basically wherever the conversation goes: making the point I am not seeking a critique, yet I don't mind, if that's what happens....
WW
All Images © AJ Group Pty Ltd Aust 1996~2024 WMW 1965~1996 and 2024~2025

I realised it was a challenge, to which I responded with a few images.

Although William hasn’t replied yet, it’s important to give him time to do so.
So, let’s wait for his response... I'm really looking forward to reading what he has to say.
Meanwhile if anyone...

[Chataignier]

At the invitation from Antonio, I am sharing this image here :

From a series themed : "transparency and backlight".

[AntonioCorreia]

Well done, David, well done !
Sure you have more and as good...

[AntonioCorreia]

Bump !

[AntonioCorreia]

[AntonioCorreia]

I captured the moment when the sun burst through the foliage, transforming this domestic scene into a luminous discovery. The contrast between the white vernacular architecture and the blue details attracted me for their Mediterranean character, whilst the ceramic lattice fencing balances the composition.

[Round Tuit]

I'm sorry Antonio but this one doesn't do anything for me.

[AntonioCorreia]

I'm sorry Antonio but this one doesn't do anything for me.

Thank you André for your sincere comment.
The most interesting aspect of this approach is using an image that isn't visually impressive to generate discussion. The photograph works as a catalyst - it's not beautiful, but it makes people talk and think about technique.

The editorial choice paradox - consciously deciding not to publish the photo on the website because it "lacks appeal" is a curious strategy. Normally we choose the best images to showcase; here, the "weak" photo serves precisely another purpose.

Teaching through imperfect example - instead of showing the perfect contre-jour photograph, showing a less successful version can spark more curiosity. It's like saying: "if I achieved this without great technique, imagine what we could do with some care."
Honesty as a tool - openly admitting that the photograph isn't special creates a genuine connection with the viewer. This transparency can be more effective than trying to impress.

Fundamentally, the strategy inverts the usual logic: instead of using the best image to teach or try to , one uses an ordinary image to inspire others to experiment and potentially do better.

[Round Tuit]

Thank you André for your sincere comment.
The most interesting aspect of this approach is using an image that isn't visually impressive to generate discussion. The photograph works as a catalyst - it's not beautiful, but it makes people talk and think about technique.

The editorial choice paradox - consciously deciding not to publish the photo on the website because it "lacks appeal" is a curious strategy. Normally we choose the best images to showcase; here, the "weak" photo serves precisely another purpose.

Teaching through imperfect example - instead of showing the perfect contre-jour photograph, showing a less successful version can spark more curiosity. It's like saying: "if I achieved this without great technique, imagine what we could do with some care."
Honesty as a tool - openly admitting that the photograph isn't special creates a genuine connection with the viewer. This transparency can be more effective than trying to impress.

Fundamentally, the strategy inverts the usual logic: instead of using the best image to teach or try to , one uses an ordinary image to inspire others to experiment and potentially do better.

Antonio,

I did not mean to denigrate your photo. As a matter of fact, I think it would do very well in certain contemporary photographic art circles. A few years ago, I read a book by Charlotte Cotton titled "The Photograph as Contemporary Art" that looked at approximately 250 photographs of modern photographic artists. The author's credentials are impeccable and the book is now in its third edition. I felt the same way about every photo in that book as I do about your. I simply do not appreciate this style of photography. It has nothing to do with technique. No amount of editing could turn photos in this style into something that would appeal to me.

If you can find it, you might find the book interesting.

[escape]

Antonio,

No amount of editing could turn photos in this style into something that would appeal to me.
g.

I'm not sure, Andre, but that sounds like a challenge! Played with it just for fun.