For Consideration
 

I have chosen this photo for a portrait. I feel that the compostion is acceptable but am concerned about the darkness of shadow in the face. This was shot in late afternoon (about 4:30) I am not looking forward to another session with this child as it took 60+ shots to get only one that is a possibility. We started much earlier in the day when the light was more acceptable. As far a background, I will of course omit the monkeybars and other distractions, but is there any other additions I should make? Any suggestions will be helpful.

For Consideration
 

If you are conserned about the shadow side, have the photo reprinted underexposted. This would show what is happening in the shadows. I would also have it reprinted overexposed, this would indicate what is happening in the lighted side of the face. This reprinting can be done on your computer if you have a photo manipulating program such as Photoshop or Photoshop Delux. Scan your photo into the program and manipulate it to your satisfaction. It's a shame that you were unable to control the youngster to get good photos. Good luck.

Chris Saper has addressed many of the issues source photos have in common in her book "Painting Beautiful Skin Tones with Color & Light". To see what is really happening in these "value clumped" areas of shadow, she suggests back-lighting the photo, by taping it to a window or table lamp.

What medium do you intend to use? I like the photo you've chosen, you have achieved the coveted "single light source" and I think once you get in there and start working you'll find the values you need.

Tom, You said it. The mother and sister were present and there was much pouting, hamming and general kidstuff. In the future a one on one session is in order. I have just acquired photoshop and will try to do the manipulating that you suggested.

Marie, I have Chris Sapers book and will definately re-read it. I must have missed that (or not retained it). Thanks. I plan to do it in oil with a verdaccio (sp) underpainting that will be my first. Although I think it may be better suited for a watercolor.

When I used to manage a portrait artist, I would mention to the mother ahead of the appointment that one-on-one time with the child and artist were necesssary. Often children will act very different with family around and usually it's not better.

Sandy,

Regarding working with the child..I would go through your photos and narrow down the "almosts" and schedule a new sitting. Take note of time of day it was, bring an assistant (your friend, etc.) to hold a reflector, and keep the family out of it. Interact w/ the child first, talk to her, etc. and show her the previous shots, asking for her help. I've found children surprisingly cooperative when you involve them in the "project".

Then, mount your camera on a tripod and shoot from one direction for 15 or so shots. Keep the girl occupied in one place if you can, so you may have as little pose changes as possible. Go to another angle, shoot another 15 or so in that spot, and so on.. Basically, I'm advising to have a flurry of similar angles, similar lighting to choose from and put together. It's really unusual to find all you need in one shot.

You'll know when you hit the right pose. Then, take the close-ups of all you need. Lastly, DO NOT show the family all of the shots. Edit them yourself based on what you are confident will work. If need be, re-shoot. Believe me, its not unusual to do this, clients understand (usually).

Good luck! Hope this helps.

Cynthia and Stanka, Thanks for the tips. I have just spoken with Sydney's mother and it looks like a new shoot may be possible in a few weeks. Funny thing is (funny now, not funny then) we couldn't keep the child from waving at the camera! Her mother explained that in nearly every family snapshot she is waving. Her mother kept chiding her for the wave and I'm sure the kid was very confused. In the meantime I will manipulate the picture in photoshop or get the exposures that Tom suggested.

I will have to get used to this as children are my main interest in portraiture.

I agree with all that Stanka has said plus the following:

I meet with the child before we schedule the shoot. We plan the shot and make sure the child is dressed in "paintable" clothing that he or she agrees with. I always ask the child how they want to look...we're partners in this afterall.

I shoot indoors in my studio with a strobe...you don't get anything out-of-focus this way (and that can be tough with a wiggley kid). They are more apt to behave on your turf.

I place them on an elevated platform with a backdrop and tell them to pretend that they are on a stage. This clearly defines their area and keeps them from running around. It also saves my back on a long shoot. I got this idea a long time ago while watching a children's photographer at Sears...some of them get pretty good pictures, so why can't we?

Keep ice cream in your freezer for small and deserved breaks.

Sometimes I place a TV with a VCR behind my camera with a Disney-something videotape to keep 'em amused and looking in my direction.

When they wave or "mug" at the camera, I shoot with an empty camera until they forget to do it and relax. If I don't do this, the cost of wasting that much film dents the bank account.

I will reschedule the shoot as many times as necessary in order to get the shot I need.

If you settle for a poor photograph, you cannot produce a good painting. I am glad that you are willing to reshoot this one. Any chance you could do it indoors and get some control over your pose and lighting?

Karin, Thanks for the reply. It sounds as though you have a lot of experience at this. Also being a mother yourself is a great benefit in this depatment ;) You know all of the tricks. Our goal was to get as "free" and "playful" a pose as possible. In fact, I did't want a pose at all. Even though I am new at this I like the suggestion of movement. I'm afraid that indoor activity will be limited to Barbie dolls and Candyland. We are just steps from the beach, possibly the water would make a good reflector? And what about clothing? I chose the white peasant T for a crisp, clean look. The girl has strawberry blond hair and striking hazel/green eyes. It is a shame to hide those beautiful eyes in all of that shadow.

I find most children to be "free and playful" by nature, no matter what they are doing and where they are doing it.

I gather that we have a philosophical difference on how we intrepret "free and playful." I think that you are walking a fine line between "frenetic activity" and getting a paintable picture.

By all means try the beach...if you can find someone run after this child with a large reflector.:)

Or, maybe the parents could hire a professional photographer to work under your direction to get a decent shot so that you can paint a decent portrait?

I am curious...could you post a pix of a painted portrait - any portrait that you really like of a child, where there is movement, freedom, playfulness and "fresh-looking" clothing? I assure you that I am not boing sarcastic here...I really do not know what you envision your painting to be like. Here is the URL to a link with lots of professionally painted portraits of "girls outdoors": http://www.portraitartist.com/girlsoutdoors.htm Do any of these portraits have all the elements that you wish to portray?

We use so many words to describe visual things and these words mean different things to different people. It gets complicated sometimes...

Wow. Thanks for the link. Your are right Karin, I have to slow down (and let my subject slow down as well) ;) In most of these portraits there is a suggestion of 'free & playful' just by being outdoors (as well as just by being children) I don't have a photo of what I had in mind, just an idea in my head. I'm sure I am making this harder than it needs to be. Thanks again for your input and suggestions, I will try again & post my results before choosing.

BTW I am happy for this new section. It will certainly help those of us who struggle with 'what to paint' as much or more than 'how to paint'.

For me, the setting up of "what to paint" is oftentimes harder than doing the actual painting!

FORGET THE IDEA THAT YOU CAN JUST PICK UP YOUR CAMERA AND "GET LUCKY!"

I do many idea sketches...before the shoot.

I look at as many of the Old Masters (and anyone else I can find) to see how they handled the same subject matter.

I scout out possible backgrounds.

I assemble props.

For every hour I spend behind the camera, I have probably put in ten hours of research and set up time!

Even in the case of a simple still life, I often let the objects sit around for days and fiddle with it endlessly before I ever pick up a camera. Even though this is extremely simple, here's one that took nearly as long to set up as it did to paint.

Scotch tape, toothpicks and rubber cement are holding it all together.

Everything you say makes a lot of sense. It looks as though I need to do my homework before scheduling another session with Sydney. I like many of the protraits in the link you sent. I will study them (as well as others) and try to come up with something suitable.
Thanks again for your time and interest Karin, it is valubale information.

It is not easy to get a resource photograph....see below...

This little girl insisted on being painted in her mommy's clothing. What you cannot see is the clothespins and rubberbands behind her holding the clothing in place.

The bow in Jessie's hair is from an old Christmas present and stuffed with tissue paper so it is "puffy"...her hair ribbons were very small and uninteresting to paint.

The beloved "Bunny" was an important part of this portrait. I bought the yellow ribbon just for him in order to make this unattractive "lovey" look better in the portrait. I also planned in advance that "Bunny" would be partially covered by her hands or part of her clothing. During the shoot, I had to be careful not to insult "Bunny" by suggesting that he be hidden a bit :)

After a tough day at school, Jessie had ridden with her mom about 4 hours by car to get to my studio for this shoot. She was exhausted and "did not want to cooperate." This shot was the only decent one in about 10 rolls of film....and I nearly lost my sanity. (I think that a kazoo would have come in handy - I just didn't think of it, dang).

My rule of thumb is to expect that if something can go wrong during a shoot, it will.

But the days of planning time and aggravation during the shoot is well worth the effort. Without it, your chances of getting a "lucky shot" are about as good as winning a lottery.

My Gosh! I would never have guessed so much goes into the photography. I guess that is part of why your paintings looks so amazing. I imagined that if I "set-up" the photo it would look like the stuff you get done at Walmart or Penny's. Thank you for pointing out that you can manipulate the setting without looking contrived.

BTW "Jessie and Bunny" is one of my favorites. The raggedy little guy adds charm to the picture.

Dear Sandy,

Please be thrilled with your photo before you start painting. I just painted one from an unsatisfactory photo and it's amazing how much frustration one painting can bring.
It's just not worth it.

Demand the best from the client and yourself and you'll get it. Sargeant was very demanding. I apologize that I have to have another shoot and the people are amazingly cooperative. Blame it on yourself.

Good luck,
Mary Short

Rest assured Mary, I will not be using this photo or any other that doesn't meet the criteria. It is just my lack of experience and understanding that rears it's ugly head. ;)

I will say I am at a stalemate momentarily. I have a great desire to paint, but alas, not a suitable pose. I guess it is back to painting dogs until I find the photograpic skills that (I hope) lurks beneath somewhere.

While you're working on getting a good source photo, you could start a copy of an old master -- all the source decisions have been made and you can focus on painting:)

And in the Tampa area I'm sure you have several "live model" study groups to chose from.

Good luck!

For Consideration
 

NO!!!! By all means do take your photos, take more as needed until you find that acceptable pose. And, paint...these are your learning moments. We can tell you and show you how to swim. But, you will not learn until you get in the water!!! Use that what you find in these fora. Take what you can use and leave the rest behind. DO NOT LET THESE COMMENTS STEAL YOUR DREAM !!! Take photos, paint and blunder on.

Sandy,

Thank you for your response.

I'm writing to encourage you to keep painting. When I get really frustrated with photography I resort to painting the real thing. I was so afraid of using real people because I thought they'd laugh at my painting. Well, it's amazing how much easier it is to paint people than from a photo. I started with my mother. I didn't care what she said or thought. Happy painting.

Mary Short

Thank you Tom. I will continue to take photos but with my digital. Imagine my disappointment when I picked up my photos from the lab and this was the best one taken! The swimming analogy is pointed. I imagined that if I read enough books, view enough videos and read enough forums I too can paint like a pro. I have no doubt that eventually, with enough practice, I will have the skills (I believe I have the talent) and will be doing the back-stroke with the rest of you kind folks. ;)

Mari, Good idea. I have been searching for just that, an old master to copy. You would think that Tampa would have such groups, however my online search has been fruitless. I have checked ShawGuides and find nothing.

Mary, I will paint, the "what" is still a puzzle. My husband has the patience of a gnat (sorry, dear) and is my only relative within 1200 miles. :bewildere

I wholeheartedly agree. I learned what a good source photo is by painting from bad source photos! I learned how to create good source photos by taking a lot of bad photographs, and finally taking a few good ones. Don't go back to painting dogs unless that is what you really love to do.

:thumbsup:

I second Tom's motion.

If you don't mind driving south to Sarasota on Saturday mornings, the Art Center Sarasota has life sessions with live models Saturdays 9:30 am to 12:30 pm
Guests are welcome; fee is $10 (Members $8). Check out their website at artsarasota.org.

We're such a small town, I'm thinking Tampa/St. Pete/Clearwater must offer more. Check art programs at the local universities, most have continuing education offerings/live model sessions, especially in the summer. I highly recommend making the jump and taking advantage of these options; don't think that you're going to be the only beginner, either--that is never the case. :)

Thanks Maria, Sarasota is only an hour away and fortunately I am quite an early riser. I will however check with USF and other local schools as you suggested. Sarasota is much more art oriented than Tampa I think. Heck, you have an entire school devoted to art, plus Ringling. There is a lot of culture packed into that tiny town.

There is also the Sarasota Society of Portrait Artists, an affiliate chapter of ASOPA. You can contact Cynthia Brooks at 941-349-6383 [email protected]. I doubt that they offer hands-on learning, but you might find it worthwhile to connect with other portrait painters.