This was done in a park at night under a tree. My wife's cousin was asked to stand there and look ominous. He was instructed to remain very still. The camera was set at f 8 1/2 and of course mounted on a tripod. The total exposure time was about 2 minutes. 100 speed general purpose Kodak film was used. I was about twenty feet behind the subject with a Vivitar 283 portable flash unit (full power) covered with a red gel. Several pops were used to paint light on the ground, create edge lighting of the subject and illuminate a little of the tree that was over me so the image would not be totally black at the top. Maintaining some balance from top to bottom is usually a good idea. I never moved from my position during these pops. I simply pointed the flash unit in several directions. Once the image was lit with the red flash, I approached the subject and with ordinary flashlight in hand, blinked the flash light from the locations of his eyes in front of his face toward the camera. Each blink was about one second. As you can see, it was not a precision operation as the blink in front of one eye was more directly pointed at the camera than the other. Once the blinking was complete to create the glowing eyes, I got out my trusty phaser pistol to make the yellow beams. I set it to a medium setting just above stun.....Are you buying this? Didn't think so. Ok, here is how the beams were really made. It was all darkroom technique. The basic image was easy enough to print. Nothing special. A large piece of glass was suspended on a platform of wood above the easel where the paper would be during the exposure. Some experimentation was done to determine what height the glass needed t be to cause the beams to be a little out of focus suggesting a glowing effect. The glass was about 12 inches above the easel. The enlarger was turned on so the image could be seen projecting down onto the easel. With a ruler and blue sharpie pen, I drew lines on the glass extending from the eyes to the corners of the image using the projected light on the easel as a guide. I drew several overlapping lines to create texture in the beams. I also kept them narrow near the eyes and spread them out near the bottom of the image to suggest perspective and distance. Since I wanted yellow beams, I needed the lines on the glass to be transparent blue. Blue is the photographic opposite of yellow and since we were printing from a negative the colors would reverse on the final print. Once the lines had been drawn on the glass, the enlarger was turned off, paper placed on the easel and the exposure made. The blue lines on the glass held back a portion of the light in all parts of the spectrum except the blue. The results are yellow beams. Had the lines been too dark and opaque, the beams would have been very light or even white because no light could get through the marks to reach the paper in that area. Had the blue marks been too light, they would not have produced a beam that you could see very well. I hope you have found this little explanation at least engaging. Images like this are not what you are going to be doing everyday at the studio but it's a good lesson in controlling light and printing.