319. This style of lighting is just the opposite to Rembrandt Lighting, the face and figure being fully illuminated with soft, diffused light, the outline being in delicate shadows. This is one of the easiest lightings to execute, and where the skylight room is quite wide it is a favorite with many photographers; as it is possible to pose the subject to secure a profile, or two-thirds view, of either side of the face, by simply having the subject turn the head one way or the other. (See Illustration No. 27.) Full face views may also be made, and for children's portraits it has no equal, as the subject is presented before the camera, illuminated by the full opening of the skylight, thereby permitting a very quick exposure, with results soft and round.

320. Curtaining The Light

Curtaining The Light. By reference to illustration of the skylight room, you will observe that the top-light is employed wide open; all the curtains are run up, supplying a flood of top-light. The curtains on the sidelight are drawn pretty well toward the top, avoiding reflected light that might come from the side-light reflections upon the floor.

321. Placing The Subject

Placing The Subject. The skylight room in Illustration No. 28, presents the exact conditions under which this style of lighting is made. The subject is placed directly opposite the side-light and a little to one side of the center, back from under the light just far enough so that the angle of light will fully illuminate the top of the head of the sitter. The subject should not face the light squarely, even for a front view, but always at an angle of from 30° to 50°. This angle supplies the shadows needed to give roundness. Flat effects will be produced by facing squarely to the light.

322. If the left side of the face is to be photographed, place the subject to the right of the center, the object being to supply delicate shadows. If a front view of the face is wanted, turn the face from the light sufficiently to obtain the desired shadows, then move the camera enough to one side of the light to obtain the view of the face desired. In other words, for front, or nearly front view, operate the camera at an angle opposite the light. For a profile view a slight angle only will be required, just sufficient to supply roundness to the outline of the face. By using the skylight wide open and locating the subject some distance away - about 14 ft. - the light will be diffused and all of the character and modeling of the face brought out roundly and nicely blended, without the aid of the usual diffusing screen, or even the reflector.

323. Although no side-light, but only all top-light la used, the illumination must fall at an angle sufficiently high to illuminate fully the top of the head; otherwise roundness will be lost. The entire subject must be evenly illuminated. Should the light not be high enough to illuminate the subject properly when placed quite far back in the room, then advance the subject farther under the light until the illumination is found to be correct.

324. There may be occasions when it will be found necessary to lower some of the curtains on one end of the side-light, to obtain a slight side angle of light. The greater the distance between the subject and the wall, or background (unless the latter is in very deep shadow), the greater will be the atmospheric effect.

325. One of the chief advantages of Schriever Lighting is, that the photographer is able to make views of either side of the face, it being only necessary to have the subject change from one side to the other, slightly moving to the right or to the left of the center of the light, according to the view of the face desired. This is specially convenient if the skylight is located at one end of a room, as it enables one to work across either end of the light.

Upper Illustration No. 27 See Paragraph No. 319 Schriever Lighting   Portrait

Upper Illustration No. 27 See Paragraph No. 319.

Schriever Lighting - Portrait.

Lower Illustration No. 28 See Paragraph No. 321

Schriever Lighting - View of Room

Illustration No. 31. Example of Schriever Lighting

Illustration No. 31. Example of Schriever Lighting.

See Paragraph No. 333.