This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
344. When the face is illuminated in a manner exactly the reverse to Profile Rembrandt Lighting, it is termed "Sarony Lighting." Compare Illustrations Nos. 33 and 34 with Illustration No. 19 (Profile Rembrandt Lighting), and observe that the shadows in the Rembrandt Lighting become the high-lights in the Sarony Lighting, while the high-lights in the former become the shadows in the latter. In other words, Sarony Lighting is a back lighting, with the light falling upon the rear of the subject, the face being turned from the light. The manner of producing this lighting effect is also just the reverse of that for Rembrandt.
345. In addition to the subject having a good profile, it is essential that the face should be full and round, in order that the best gradations be secured. Owing to the fact that these two qualifications do not predominate in a large majority of subjects, one seldom sees portraits made by this lighting. Whenever you find a subject with a good profile and a plump face, by all means avail yourself of the opportunity to make a Sarony Lighting.
346. There are various ways of producing this effect, but one of the easiest to employ is to place the subject in almost the same position as that occupied when making the Hollinger Lighting. It is advisable, however, unless you have a large skylight, to move the subject a few feet forward under the light, as this will increase the depth of the shadows, which otherwise might be too fully illuminated, when they would cause a flat result.
347. The first opaque shade on the skylight should be drawn almost half-way, the second within about 18 inches of the first, and the third a little less than the second. If the top shades are drawn down, the side shades must be drawn up proportionately. With the subject in this position, the face should be turned away from the light until a shadow appears on the cheek, next to the nose. The nose, however, must receive illumination, so do not turn the head too far from the light. The camera is next placed to secure a perfect profile view of the face, which will necessitate locating the camera a little nearer to the sidelight than is the subject.
Diffusing Screen. The light is controlled entirely by the diffusing screen, placed between the light and sitter. Only the tan curtains should be extended on the diffusing screen. The black curtains should be drawn to one side, as, in this lighting, all diffused light is wanted, the catch-lights being supplied by separating the curtains slightly in the upper row. If the illumination on the high-lights is too strong, and the outline of the shadow too abrupt, rather than close the tan curtains on the diffusing screen - which is liable to flatten the catch-lights-it would be advisable to draw a portion of the diffusing curtains on the skylight, which will give a much softer effect.
Reflecting Screen. There will be little use for the reflecting screen, as reflected light has a tendency to flatten and destroy the roundness of the shadows, essential for this style of lighting. Use the reflector as little as possible, unless the source of light is small, and the resulting effect is extremely contrasty; but even then exercise care, lest roundness of the shadows be flattened. By placing the screen at the proper angle to the light, dense shadows can be overcome and sufficient illumination supplied without flattening the resulting effect. If the lighting has been correctly made, the high-lights will be on the back of the head and neck, extending across the cheek bone. The next highest light value will be on the nose. There should be a general blending, or melting away, from the high-lights on the cheek bone into the shadows on the front of the face.
Illustration No. 34. Examples of Sarony Lighting.
See Paragraph No. 344.
PORTRAIT STUDY Study No. 21-See Page 579, Vol. VIII W. M. Morrison.