Makeshift Photo Studio
 

I feel like I am getting a bit better with taking pics in my studio, just as I am about to leave it! Great north window with window seat.

This is the five year old I have been so nervous about photographing as it is the first commission where I got to take the pics. I would love to have some critiques for picking which ones to show the parents tomorrow night.
These are my favorites out of over 200 pictures!!

The commission is for a head and shoulders in graphite, which the client won at an auction.

Thank you!

Hi Pat, These look grate and such a cute model. I would personally recommend one and three but with a face like that how can you go wrong. I like one and three being that she is quite relaxed where in the other two she is posing. Than again with one and three you would give her more space in front and less in back. That would suggest her looking through a window pane which would create the relaxed mood rather than boxed in. Where with the other two you have a straight on so the cropping can be classic. Which ever you and the client decide think about using the Bargue method. It can make your life simpler and bring a new dimension to your drawings. If you have the Bargue book look at Plate II, 52.

Sincere wishes,
mischa

Thank you. I do have the Bargue book and will look at that plate when I get home tonight. One and three, if you look, are the same photo only one is reversed. I was wondering, is it better to have the drawing read from dark to light, or light to dark? Thank you for the idea to give more room where light is coming. I cropped these tight just for the sake of giving you a closeup of the features.

Pat, as far as I know the classical approach is to have the light on the left. Still, if it works as well or better the other way than why not. When photographing someone than you look for that moment when the light and the shadow are just right. For graphite and charcoal the half-tons play a important part for they hold a lot of detail. Than again it all depends what you wish to detail and what not. If you decide to use the Bargue method than I suggest that you get your outline and shadows correct before starting the half-tons and details. Tape your paper and reference photo side by side. Draw the portrait using a plumb line and the sight-size method. This will train your eye for live sittings. If in doubt about something feel free to ask.

Sincere wishes,
mischa

Patricia, I also would go for one or three, mind the finger drawing though, it's sweet in a photo but I am not sure is good body language for a portrait (just my opinion).
I just wanted to add some suggestion for meeting the parents.
If you have time just bring along a sketch of the photo, and show several pics indicating the one you chose as your main source of inspiration.
This is a way to avoid them asking for the photo as a final likeness check, a very humiliating procedure that has happened to me once.
I know better now!
Good luck, I am sure with such a reference and your skills you will produce a very good work.
Ilaria

Number one is my pick, even thought the light reads from right to left. Sometimes breaking convention is ok. So many portraits of the masters were reading light from left to right because they were right handed and didn't want shadows falling on their canvas which would occur if the setting were reversed.

The hands won't be a problem if you just do a head and shoulders.
Crop the pictures before you show them to the client or they will want more of the figure represented.

Patricia, these are all very sweet photos, but I will defer to my betters here and agree that one and three appear to be best (of a very good lot). I am sure that you will do a fantastic job, too. This one seems to be right up your alley.
Best, Janet

Mischa - The procedure you described is pretty much the approach I have taken with my most recent portraits.

Ilaria, Richard, Janet - I am meeting with the clients tonight and do not have time for a sketch, though it is a great idea, one I will try to do when I have more time. The turnaround for this commission has to be fairly swift as I am moving the end of April and would love to nail down a commission for their two teenage sons!

I am going for a head and shoulder with this and am planning a very short/simple dissertation on the beauty of a photo (Clevelanders are only used to photos, remember) vs. absolute beauty of an intimate portrait sans background noise and anything else which would take your eyes off of her sweet face. In a photo the hand gesture and the little stuffed animal are sentimental and cutesy. My intent and style is to create a work of art which captures the beauty of her face and the softness of her personality. She doesn't need props! She is a quietly enchanting little girl in person, I can't wait to capture that in a drawing! I'm not so nervous when I think of the vision I have and how I will convey this.

The whole photo process was very gratifying. I found it a challenge and fun, engaging with her and just shooting pictures galore without her barely noticing! Plus, so much information about her personality and body language, how she interracted with me and her father will be inspiration as I draw her. I think this will result in a better portrait than when drawing from a photo sent from New York or Ct of a person I have not met...

My first choice is number one, second is number three.

I like the relaxed feeling from number one.

Good luck Pat. I can't wait to see the final product when you are finished. Keep us informed.

Also, I haven't commented on your move but good luck with that as well. I was very tempted to say something about your "Three times is a charm" comment but I won't go there (inside joke for you and me, wink!) Anyway my thoughts and best wishes are with you. With your personality and spirit you will do well anywhere.

Go for number 1. Put out the sample based on what you want to be hired to paint next. You'll do a beautiful job.

Janel, you encouraging words mean a lot to me. Third, fourth, fifth, one of them is a charm (ha ha :exclamati ) The closer moving day gets the more excited I am and the more confidant I feel that this is exactly what I want to do right now with my life. Change is scary, but courage is life-affirming!!

Well, I may regret showing the client all of these pics. They chose Number 2 because they love her eyes (who doesn't) and want her looking directly at the viewer. I can't say I don't agree with their reasoning and it will be a lovely portrait (I have several reference shots in this position, some with her hair more fluid and less Helmet like!). But I may just have to paint #1 or #3 this summer because I love the pose and her face is so tender. I told them that and they said they might be interested in buying a painting of her also! We'll see!

Chris, I felt it necessary to show them several choices. Do you show them what you will be using as a reference and not give them a choice? Need to rethink this before the next commission!

I give them a choice - I'll show the images that will make good portraits, let them know the one I would choose if I were painting my child, and them let them choose.

Pat, it sounds like I'm too late here on this, but you might want to greyscale your image before deciding what will make the final cut. When I do a drawing from a photo this helps me visualize the finished work, abstract my shapes, manage edges better and pushes the work past the "tight photocopy" feel - for me, anyway.

I also do a lot of auction drawings. You have beautiful photos here of a beautiful child, your drawing will be wonderful.

Thanks Chris and Linda,
Never too late, there will be more opportunities (I hope!). I do that too, print in grayscale! It does really help. This little charmer's eyes are such a lucid blue that in the BW the irises are almost white! I am excited about this one, her eyes are so beautiful and the rest of her features just perfect.

This commission is actually from the first auction I did! There are two boys too, so I am hoping they will want two more!