Sarah
 

This is my niece Sarah. I haven't seen her in over a year and could't believe how much she had matured in that year (13 next month). I thought she might make a nice model to do some portfolio pieces of so I took a few shots. Unfortunately, I didn't have my tripod with me, and it was snowing outside, so most of the pictures came out very blurry with the exception of these. I was hoping to get several angles to do three different heads to hang together, but these were all I got that were decent. What do you think?

Nice going Mary,

I'm not crazy about the last one but I think you could easily paint from any of the top three. I think I prefer the third image. You have done a good job of controlling the direction and intensity of the light.

Tell us how you set this up.

Well, I followed your directions!! :sunnysmil

I found a window with light similar to what was in my dining room since I had done that so many times and tried to follow your rules from our little adventure.

That third one was one that had no intentional set up, she just looked back at me and I snapped her picture, which led to the idea of taking more in better light. I just happened to like the hair up (even though it was wet from playing in the snow). I figured you wouldn't like that one.

The first image is very much an expression I have seen from her a million times, but since this portrait really isn't for her, but my portfolio rather, I am more concerned with the best source.

Mary, I hope she is still in town!

Athough the light is poor on the last one, this is the Girl with the Pearl!! Could you reshoot this image with better light? She is just lovely.

Mary,

I agree with Chris on this one. She is really exquisite at this angle and, if it were me I would go to the lengths necessary to reshoot this one.

No, I'm afraid not. She is five hours away. I won't see her again until probably Summer, if then.

I saw the girl with the pearl in that shot too. I suppose I could TRY to explain to her mother what to do and see what we come up with. She does have a great camera.

Of course, since this was just for me, I don't have to do it at all, it could wait. Or of course use one of the other three for now and get her in the last pose later in the year.

I wonder if anything could be done in photo shop to help with that last one?

Remember this mantra
 

Always get the best reference, always get the best reference, always get the...

Sharon, you've stolen my mantra!

OKOKOKOKOKOKOKOK! ;)

Just a question though, are you saying the first three are not suitable references?

Let's pretend a moment I had not shown you the one of her looking back that we all like. Would you be telling me to reshoot then?

Trying to learn.

If I had a model this beautiful, my brain would be working overtime to capture something really special. Your pictures, though lovely don't really do such an exquisite subject justice.

It's not the perfect lighting situation, but it's not bad. It was the white balance that was off in your shot.

In addition - if you were to do this shot - I'd soften the wrinkled worry look on her forehead.

The point is we did see the other one. But that's really besides the point. The key is to ask yourself if any of these really do her justice. If the answer is yes then why are you posting these? Obviously you know something's lacking so you're asking for permission to assume one of these is workable.

Permission not granted! The answer is always inside you.

Point taken. You are right. I just REALLY wanted to paint her, had a fleeting 10 minutes to try to snap some things before they left for home once the urge hit me.

The "pearl girl" picture, as mentioned before was taken as a "snapshot".

My main reason for showing the first three was to see if I was getting the hang - (in your professional opinions) of setting up the light properly when I am taking the pictures. For years I never understood what I was even trying to do with the camera.

I don't know what posessed me to throw that third one in there except for the fact that it was my personal favorite, despite the poor lighting. I think I was secretly hoping someone would tell me to use it!

The expression in the first one however, really captures "Sarah".

Mary,

Yes you defintiely have the "hang " of it - the lighting in the first three is gorgeous, and they would be a pleasure to have as resources.

The Pearl Girl , though is so very compelling, and I think really the most engaging image. Cindy, nice job of tweaking the temp - Mary, if you have the time, why don't you just give it a try? The biggest problem may be the resolution. There is though a lot going for this image, even if you end up not using it as a portfolio piece. ( I have thrown out tons of portraits, as I am sure everyone here has) There is the challenge of two different lighting temperatures, which would be great fun, and a useful exercise. Lovely reflected color as well. You will want to play with the value of the background befor you begin, especially if you are going to do a vignette with La Carte. You might go with a different color/value paper in that case.

Here's a later PS:

Think about painting this as a study to work out all that you want - then when you photograph her again you will know just what you want to do, not just lighting, but background, clothing etc.

Personally I love the first one - it has a nice angelic look going on. She looks more innocent in that one as well. The pearl one is great, except for that furrowed brow thing going on.

Just my 2-cents. :)

Wow, what a model! Get her back Mary and paint those blue eyes...........The Girl With The Pearl - I'm always after that pose myself!

Denise

Marvin and Chris, I have to tell you I was thinking about your comments a while ago and had to chuckle to myself as it reminded me of my children going to my husband for permission and he saying NO and they come to me after that no hoping I will give them a yes.

Kimberly, that is my sister in laws favorite, she doesn't like the Pearl Girl one at all.

Denise, she is in YOUR neck of the woods so why don't you do me a favor and run over and get both of us some great resource photos, I know she would be quite flattered! Otherwise, this reshoot will have to take place later in 2005.

Well, Mary,

I guess we will just have to see what we can do about that! I do have my new digital which I am dilligently learning to use page by page. Maybe by next month I will know enough about it to take a good picture of her! I have found some great sites about using my Nikon 8700, which are cutting down on reading the manual time.

Denise

Mary, I must weigh in on the side of those who recommend you not spend time painting from any of these. Time is your most important resource, by far. The facial expressions in all of them seem a bit off to me -- either grouchy or false.

I'm sure there must be a few other lovely young ladies in North Carolina. Grab one of them and shoot some PERFECT photo reference, with a subject who is exquisite and whom you just can't wait to paint. Create a GREAT sample for your portfolio, not a "just okay" one for practice.

I agree, I am bagging the idea for now. I have plenty of paid work that needs to get done anyway. I got a whim, and that whim has now passed. But I will definately plan on spending plenty of time shooting her the next time she comes to visit. Either that or see how well Denise learns to use her camera ;)

I did find one more "Pearl Girl" pose, but think I will pass.

Thanks for reminding me not to settle.

It seems I have twisted the in-laws to come visit next month and bring Sara (without an h, she was quite upset that I didn't remember that).

So, with this lovely model coming to stay, I can do with her as I please.

Any thoughts, examples of really wonderful portraits of girls this age, or inspiring ideas on ways to paint her would be much appreciated.

Mary,

My advice would be to find that space which you feel gives you the best light and practice as much as you can before she gets there. Even if it's with a still life like we did once before.

One thought I had while looking at these photo's, and something to think about going forward. You should not establish the height of your camera (tripod leg's adjusted) until the subject is in front of you.

What I try and do when I begin with a subject is start with what you might call a benchmark pose. I set the camera height at something very close to eye level. I then like to set them in a simple kind of three quarter head and shoulder pose. After doing all the chin up, chin down, nose left, nose right adjustments, I then take a few shots of the subject with their eyes burned right back into the camera.

You could call this a sort of warm up for both you and the subject. You may have other objectives in mind as far as posing, camera angle etc., but I think it's good to always have a starting place and a drill that you go through. It's a kind of mental check list (it can be a literal check list), set tripod height, check lens for fingerprints, check ISO for current light conditions. All this while constantly evaluating the light on the subject, move closer to, farther away from the light source. These things become second nature after a while and require no thought at all.

If you watch a field goal kicker, a golfer as they address the ball, or an opera singer in the dressing room before curtain call, they all have a routine that they will not vary. It's not just superstition, it's setting in motion an established mind set which brings about a predictable results.

And more often than not, I find that those simple poses with the direct gaze are the ones that keep sticking to my fingers, defying the culling process.

Nicely said! I think I will print this out, Mike.

Just wanted to add that in portraiture it is really important to find the most flattering pose and angle of your sitter. If you don't, the sitter won't like the painting no matter what you do.

Point of view
 

One of the most important things for me to consider is point of view. What do I want to express with this painting. A good portrait or representational painting of anything for that matter, has to be more than a faithful copy of the subject.