Miketh, I feareth I was not cleareth. You take exceptionally beautiful reference photos, indoors and out, including this one. I'm sure you won't turn the shadow side into mush; I just think it's harder to manage the shadow side on an outdoor subject using photographic reference than it is to manage the shadow side on an indoor subject using photographic reference. I'm not exactly sure why this is so. Part of it may have to do with how hard it is to control outdoor light. Part of it is that I think it's often harder to find the planes of the face in outdoor light. And part of it may have to do with my theory that you have to be really good-looking (or young) to look your best in outdoor light.

Many painters of outdoor subjects aren't who I'd classify as "portrait" painters, since they seem to me to be more "outdoor figurative genre" painters. They do incredibly beautiful work but I'm not sure you could identify the individual from a crowd of similar people.

I have an indoor portrait on one easel and an outdoor portrait on another easel in my studio at the moment, and so this issue has been on my mind a lot recently.

I shall be telling this with a sigh, somewhere ages and ages hence.

Linda

Just for the record, I recently saw the portraits on Linda's easels and, though both are lovely, the outdoor one is a real stunner! I hope she posts it on the forum sometime soon (nudge, nudge).

Linda,

You are never unclear. I remember a beautiful painting of a girl sitting on a bench outdoors (I hope I'm remembering correctly.) I think you have a pretty good handle on these matters.

Two roads diverged in a wood, and I

Fevie outdoors
 

I don't have any wisdom regarding taking outdoor photos. It seems that you can come up with reams of suggestions on what to do when you move indoors but I have trouble coming up with any axioms for outdoor use.

I do know that there will be occasions when you are called upon to do this work. When I strain, I remember that most of the good outdoor shots I have taken have been near structures or under roofs. Maybe the structures (buildings, tree rows) give the opportunity to either block or reflect light. Same for the roof.

One things for sure, you have to find a way to work the light to your advantage. This may mean early morning or later evening sun, giving the side lit effect. Spot metering has also been helpful to me. Standing in the open during the noon day sun is not good, I'm pretty sure of that.

There are certain ideas and concepts that will only work outdoors, otherwise, for me it's reserved as a last resort.

***

Sittin in the morning sun,
I'll be sittin' when the evening comes,
Watchin' the ships roll in,
And I'll watch 'em roll away again ...

Jeremy
 

While I don't plan to paint from these, I think they would contain adequate information (providing I didn't ask Marvin's advice on the matter...)

The anti-smile advocates among us will be pleased to note there are no portions of Jeremy's skeletal structure showing (i.e., teeth.)

These are taken with my Minolta D7. The original files are 1920x2560 pixels and contain a great deal of detail in the shadows than can not be seen on these tiny thumbnails.

The subject is my daughter's boyfriend, dressed for prom.

Will

3/4 view
 

...a 3/4 view from the same session...

Great Shots
 

These photos are all inspirational in their composition. I'm afraid mine do not measure up - yet!

Wow what a discussion and I am indeed loving it. I see now, Mike, how you get some of those fantastic photos

Pat,

I am not shy about asking people to pose. I have been doing this for a long time. Many, indeed most people, will never have the opportunity to see themselves in a good light. I offer people an 8x10 photo of themselves in return for a few minutes of their time. I consider this more than a fair trade. These terms are understood up front along with a model's release. The Mardi Gras birthday girl has signed a release so I can do with that image what I please.

Most of the people I photograph are not complete strangers, but some have been. Sometimes friends will bring me people to photograph.

I have always considered this my cost of education. For them it's just a passing lark, for me it was always a serious exercise to obtain additional knowledge.

I have reams of photos of people that I could paint when no one will pay me to paint. As far as what do you do with them? You have to be able to physically show examples of your work. It can't be just in the abstract, or web site or a photo reproduction. These examples should be of the highest quality work you can produce.

A lot of the photos I have taken I have passed on for painting reference. I still have to coach myself, and keep reminding myself that I am not trying to make good photographs but good painting reference. The photo just above of Fevie is a good example. I have passed on that one many times but I do love the photo. There is a fine line that I tend to blur often. This is why I always jump to the opportunity to practice. I say hone your skills before you're under the pressure to make it happen for real.

The following is a slightly abused photo of Duke the heat and air man. Five minutes before this photo was taken Duke was putting freon in my a/c units in the back yard.

If business gets any slower I may be painting this long slender composition.