Night Lines, no wait. Leading Lines.

Sgt. Zackary Davis, 431st Civil Affairs Bn., prepares a Single Channel Ground and Airborne Radio System (SINCGARS) to transmit a 9-line medical evacuation report during the warrior task portion of the 352nds best warrior competition at Fort Meade, Md. on April 2, 2012. (U.S. Army photo by Staff Sgt. Felix R. Fimbres)

I want to point out really quickly that this is what happens with you Mix light and set your flash to rear shutter. If you don't know what that is, don't worry I'll explain it.

So hopefully the first thing you saw was that green thing (the antenna) leading to the Soldier, my subject, and said, "Hey that's a leading line!" If you didn't that's okay too, we're still learning.

So this photo in my opinion is a better example of a leading line than yesterday's or the day before's. Weather or not this photo is better photo than the last two is completely subjective.

I do want to point out a few things before I talk about the lighting situation I promised to talk about.

First off, the eyes, I just missed the eyes being in a point of interest. Those pesky eyes are a boon when you get them right and a groan when you miss them.

   He's looking in a great direction, towards another point of interest. But the eyes themselves are just out of a point of interest. I think this would have been a stronger photo if I was able to get his eyes in a point of interest. As it stands now it's still a good shot in my estimation because it has leading lines. You don't need ALL the elements of composition in your photos, just one. Please, at least one, like the rule of thirds.

So maybe the first or second question you had was, "What's up with light Felix?"

Well a couple things actually. First I'm mixing colors [wiki link] because I have a few different light sources.

   First there's the [I'm guessing] florescent light (a cool color) inside the building in the background, then there is a soldier nearby who is shining a red light (a warm color) to assist the soldier messing with the radio, and then there is my flash without a gel, which is white.
 
   I also have my flash set to rear shutter. Setting my flash to rear shutter makes the flash fire during the the last possible fraction of a second before the shutter closes. This allows colors like red and green to collect on the sensor before the flash fires and captures the last bit of time.
 
   To the right of the soldier is a red ghosting effect, that's because when his head was over there my shutter had just opened, and the red light was bouncing off his head and onto my shutter. As time went on he tilted his head [about 4 or 5 inches I would guess] and a little bit of red light was caught bouncing off his hat to his left, then he moved his head about another inch or so. It was at that point at which point my flash fired. Then the shutter closed. So what you're seeing is 2.5 seconds [my shutter was set to 2.5] of light bouncing off this soldier. as he moved it from left to right.

   The reason why there is not much red on the soldiers face from the red light, is because my flash, for that last fraction of a second, far surpassed the brightness of red light, and "froze" my subject. Having your flash set to normal would have "frozen" his head so that it was tilted towards the right, and then you'd have light trails on his left.

   But if you look closely there is still some red tinge cast on his face. This is probably a result of not only there being some red light on his face in that last fraction of a second my light flashed, but also because as he moved his head, some red light was bouncing off his head and collecting on my sensor in the time before my flash went off.

   In the background the building didn't move, it just radiated it's light, over exposing that portion of my sensor, which is why the windows look white, while there is a greenish glow around the building. The flash didn't reach that far, so I didn't overpower the green light.