Backlight is light that hits an actor or subject from behind, typically higher than the subject it is exposing. Backlighting an object or actor from the background creates more depth and shape to a subject.

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When shooting exterior shots, it is a good idea to use the sun as a backlight. The sun can often be too harsh of a light to be a source, but can be utilized as a backlight depending on the sun’s angle.

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So, next time you are lighting a scene and feel like something is missing or the image is too flat, try out back lighting and experiment with all of the great things it can add to a shot.

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Kyle DeGuzman graduated from San Diego State University with a Bachelor of Science in Television, Film, & New Media. He currently resides in Denver, Colorado spending his time writing, filmmaking, and traveling.

Back lighting is a main component of the traditional three-point-lighting technique and is what makes a frame feel three-dimensional rather than flat. When a backlight hits a subject at an angle it is referred to as a kicker or rim light.

There are many elements that go into creating a cinematic shot. The key light is important to expose the image. The fill light can determine the visual tone of a shot. But all too overlooked is the backlight. Back lighting can be the determining factor between a flat image and an interesting shot full of depth. What is backlight photography and how is it achieved? Let’s find out.

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Take this famous scene from Stanley Kubrick’s A Clockwork Orange for example. The darkness and silhouettes help us understand Alex and his droogs as cruel and menacing.

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Understanding how a backlight works in conjunction with a fill light and key light is critical for creating cinematic shots. Check out our guide to the three-point-lighting setup that is fundamental for every filmmaker to understand.

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To see this type of back lighting in action, check out this video tutorial that covers back light in a three-point-lighting setup as well as others.

Don’t be afraid to use a backlight as your main light source when a shot calls for it. Some of the most iconic shots in cinema have used only a backlight as a main source of exposure.

Just like any other light, experimenting with its positioning and angles will help you identify how you want it to expose your frame. Small adjustments can make a huge difference, so be sure you make time to experiment and test your backlighting setup.

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Sometimes backlights are used as the main key light of a shot as well. This leads to a silhouette which has a very different effect than back lighting in a three-point-lighting setup. It can be incredibly dramatic and ominous which is perfect for dramas and thrillers.

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Back lighting photography also brings out shapes in a subject that can be used for dramatic effect as seen in this still from The Hateful Eight, one of Quentin Tarantino’s best movies. Although subtle, the backlight helps define the shape of the hat and steam that would otherwise fall flat against the background.

Cinematographer Roger Deakins uses it in The Assassination of Jesse James by the Coward Robert Ford to heighten the suspense and drama of a scene. Consider this moment and how dramatic the silhouette is, the atmosphere of the forest, and the simple yet evocative composition.

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Backlights can be the determining factor between a flat, boring image and an interesting, dynamic shot that is full of depth. Most cinematic shots use back lighting in some form and are the key to elevating an amateur looking shot.

So, is backlighting as simple as placing a light somewhere behind your subject? Or is there a bit more strategy or nuance to this technique? Let's walk through some tips on how to make sure you get the most out of this style.

Back light can be used in multiple ways for different effects, but its positioning is generally standard among all techniques. Understanding the backlight definition will help you incorporate it in your next lighting setups.

A great example of this can be seen in this still from Shutter Island. The back light photography here creates depth and drama by separating the subject from the background.

Knowing how to light your scene means understanding how both light and darkness should be used. Silhouettes have great tonal and storytelling capabilities that can heighten the drama of a scene.

When a light beam strikes a smooth surface, most of it reflects back in the same concentration. This is specular reflection, which gives us direct, bright light. A mirror is a common example of a smooth surface that causes specular reflection. On rough surfaces, even microscopic irregularities create roughness. This does not break the law of reflection. Each ray reflects back at the same angle at which it struck the object but in a different direction. So diffuse light is scattered light. This scattering is what causes the diffusion and softness of the light beam.

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Because back light photography hits a subject from behind at a higher angle, it gives a sense of depth and space behind the subject. Back light not only exposes the rim of an actor, but can help expose the space behind them to create a more three-dimensional image.

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Within the context of a traditional three-point-lighting setup, a backlight reduces the flatness of the image against a background caused by the key light and fill light by separating a subject from the background.

As you can see, there are various ways to utilize back light in the cinematography of your film. Determining how to use it comes down to the tone of your story and how back lighting photography can contribute to it. Here are some actionable lighting techniques and tips for using back lighting in your lighting set up.

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Ideally, you would shoot your exteriors at golden hour for the most cinematic natural lighting. This shot from Ford v Ferrari uses the sun as a backlight perfectly to create a very cinematic image.

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Back light within a three-point-lighting setup will help offset the flatness created by your key and fill light. To do this, place your backlight on the same side of your key light. Then, raise your backlight higher than the subject it is hitting and angle it down at your subject at roughly a 45 degree angle.