Shooting against Light

[Arjung]

I was experimenting with trying to capture some rim light by adjusting the Exposure Compensation. I wanted your opinions on the first or second photo. I prefer the second photo.

I do realise I could have framed this better as there is very little space on the left side and a lot more on the right. This is the challenge of framing moving animals perfectly. As you can see from this photo I am still learning.

The photo below is SOOC; no adjustments made, shot at 105mm, ISO 1600, 1/2500, 5.6, -2.0EV, Matrix



The photo below is the same photo but a further stop down in processing. No other adjustments made.



Nikon D800, 28-300 lens

[Manfred M]

Both images are underexposed. When shooting against the light, the tendency will be to have a very light background if you are trying to expose the subjects "correctly". The other issue with shooting against the light is that the subject will be very flat as you are shooting into a shadow area. If the light source is included in the shot you will also get softness from "veiling flare" as the light bounces off the interior lens elements. When it comes to using exposure compensation, you are going in the opposite direction that you should be.

Traditionally, in portraiture, these types of shots will be augmented by "fill light", whether that be flash or from a reflector. In this type of scene, that is not possible, so correcting in post-processing is the only thing one can do. The Lightroom / Adobe Camera Raw "Shadows" slider can work wonders.

[pschlute]

I can see why you prefer the second one as it accentuates the rim lighting more, but in my opinion the image is too dark. You could try some selective brightening of the subject which would reveal more detail without losing the rim light effect.

I know only too well how difficult it can be to capture moving dogs and it inevitably involves some serious cropping. The background in these images are an unwelcome distraction for example.

You could also experiment with some on-camera fill flash which may allow you to keep enough detail in the subject, while still retaining a dark background to illustrate the rim-lighting.

[Geoff F]

I would be tempted to 'move' the left side dog fractionally towards the right. The background looks as though there isn't going to be any complicated problems.

[dennybeall]

I would be tempted to 'move' the left side dog fractionally towards the right. The background looks as though there isn't going to be any complicated problems.

I would agree. Moving the small dog to the right would balance the photo. I'd probably crop a tad of the front and the right side after the move.
I like the effect with the rim light on the last version where the dogs are well lit.

[William W]

Commentary refers to AVAILABLE LIGHT Photography ONLY:

I was experimenting with trying to capture some rim light by adjusting the Exposure Compensation . . .

The photo below is SOOC; no adjustments made, shot at 105mm, ISO 1600, 1/2500, 5.6, -2.0EV, Matrix . . .

The image file generally and specifically the MAIN SUBJECTS is/are extremely UNDERexposed, BECAUSE you’ve used inappropriate Exposure Compensation for this Lighting Scenario.

Backlit, daylight Subject, using NIKON MATRIX TTL METERING, typically one would INCREASE the EC (for example about +1.5).

If in doubt and whilst you are learning, then a useful procedure for Nikon Matrix is to BRACKET the Exposure Compensation on SHUTTER SPEED: EC =+1 ±⅓ Stop.

***

IF you are trying to achieve an overall LOW KEY Scene, with a RIM LIGHT or a TOP LIGHT as the KICKER, (employing Chiaroscuro), then, the best way to do that is to get yourself into a Lighting Scenario that will accommodate it: this is more easily done in the evening and at night time, for example -



But the main issue in trying to achieve a similar result, in daylight, is both the background and the main light on the Subject usually appears ‘fake’ and usually very noisy/grainy, due to the original underexposure, even if a skilled technician is doing the Post Production. (That is NOT a comment on Manfred’s Post Production, which is very good).

There are "Day for Night" Filters available (attached to Lens). These are excellent and they require learning to use them effectively. I use Tiffen I have found Tiffen the best for DSLR and Mirrorless, especially for Video:

These Filters employ similar protocols which are used in Cinematography for shooting Night Scenes, under Daylight Lighting.

There are Photoshop Techniques and also Plug-ins that you can employ to make “day into night”, but I prefer to use a Lens Filter at the Origin end of my Workflow: there are several reasons for this choice, which would require substantial paragraphs and I won't do that now.

However, and in simple terms, the salient point remains: whatever technique you employ to achieve the outcome you desire, there are always very good reasons for getting the best quality image file possible. and understanding and using different LIGHTING SCENARIOS, effectively.

WW
All Images © AJ Group Pty Ltd Aust 1996~2018 WMW 1965~1996

[William W]

. . . I like the effect with the rim light on the last version where the dogs are well lit.

Please expand - Which one? the second version of the image that the OP posted (post #1) or Manfred's Post Production of it (post#2)?

Ta,

WW

[MrB]

This is perhaps not directly on topic but the first image is improved for me by brightening only the central area in a graduated way, e.g.:



Cheers.
Philip

[Arjung]

Many thanks for all the comments.

Apologies to Manfred, Bill & Philip but my objective was to capture rim light. As I do not have any filters my option was to consider EC.

If my objective was to capture Max and his expressions, I would shoot very differently. The photo below is an example which is SOOC. ISO 1600, 5.6, 1/800, Matrix, 116 mm, no EC.

[William W]

Many thanks for all the comments.

Apologies to Manfred, Bill & Philip but my objective was to capture rim light. As I do not have any filters my option was to consider EC.

OK. I believe that I now understand what you mean.

In this case, i.e the RIM LIGHTING is to be Main Subject of the image, then yes, you have used the appropriate EC to achieve that outcome.

Additionally, I agree that the RIM LIGHT is more dramatic in your second sample image; moreover because you had to use additional Post Production Exposure Compensation, then this indicates that the original EC was not severe enough to achieve what you wanted.

Notwithstanding these comments, I am not particularly artistically drawn to either image: mainly because, in that particular lighting situation any emphasis to correctly expose the Rim Light and make it the Main Subject, at the detriment of other key elements in the scene (i.e. the big Dog) seems to me to be, artistically counter productive.

I mention this mainly because, if you find yourself in a similar shooting scenario and you want to emphasis the Rim Light of a Subject AND keep that main subject correctly exposed, then you need to follow an EC protocol as described by Manfred and myself, which noted is exactly the opposite to what you employed for the sample image in Post #1.

WW

[pschlute]

I would add that if the rim light itself is to be the prime purpose of the image, then your framing has to be considered much more carefully with no other distracting elements in the frame. So I would suggest you need to lose the second dog and that the only thing apart from your subject dog is a uniform background.