By this time, the sun was pretty high up in the sky, but still at a slight angle. Farrokh positioned Lakshmi so that the sun was now acting as a backlight. He used a white Lastolite reflector just below her face and just out of the frame to accentuate the light that bounced off the sand and sea, and to add a catchlight in her eye. For a close-up like this, Farrokh usually tries to use an f stop that gives him the shallowest depth of field – he likes to blur the background so as to make the subject stand out sharply.