350. Background

Background. A blended background is excellent to employ with this style of lighting, as the shadow which outlines the front of the face should be contrasted with something less light, to show a perfect outline of the face. A profile of good relief will thus be drawn, and there will be apparently more life and detail in the shadows on the front of the face. The background, placed partly facing the light, thus receiving full illumination, will also aid in producing roundness to the face.

351. Developing

Developing. The Universal Developer, formula for which is given in Volume II, will give excellent results on negatives made by the Sarony style of lighting.

352. Practice Work

Practice Work. Remember, the subject best suited for Sarony Lighting is one having full, round cheeks and a good profile. A spotted effect would result if the cheeks were hollow, or if the subject possessed high cheek bones. The beauty of this lighting depends entirely upon the features of the subject, therefore, do not attempt to use it, unless the individual has the required features.

353. Place the subject exactly as for Hollinger Lighting, but a trifle farther forward under the light. Pleasing effects can be obtained by placing the subject with the back to the light and the profile of the face turned towards it. Or, arrange the subject with the figure facing the camera and the face turned far enough away from the light to secure the proper effect. In either case diffuse the source of light until the shadow, which may be cast by the ear, is softened. Also see that there is a gradual blending of the light from the high-light on the cheek down into the shadow on the front of the face. The farther the subject is placed away from the skylight the greater will be the diffusion obtained, and the less diffusing with the curtains will be required. The greater the distance between subject and the light the more open the light should be, and the top shades should not be drawn down as far as when the subject is nearer the skylight. The exposure is approximately the same as for the Hollinger Lighting. Several negatives should be made of different views of the subject, the exposure being slightly varied for each.

354. After development, make proof prints from each negative placing on the back of each proof all data relative to its production. File these proofs in your proof file for future reference.

Illustration No. 35. Figure Draped in Cheese cloth

Illustration No. 35. Figure Draped in Cheese-cloth.

See Paragraph No. 357.

Illustration No. 36. Rembrandt Portrait   Draped

Illustration No. 36. Rembrandt Portrait - Draped.

See Paragraph No. 350.