Two siblings but which composition?
 

Hi all,

I've been commissioned to do a portrait of a brother and sister, 9 and 13 years of age. I really want this portrait to turn out good. I've been to their house and made loads of photos, but am not very experienced in taking reference photos, and could not get the kids to sit nicely together. So I've got hundreds of photos of them seperate, (in the ones they are together, at least one is pulling a face :D).

From these photos I hope to compose a good portrait. Please, please help me out. I've got six options so far. The parents/clients want an relatively informal portrait. The boy especially is a restless kid who is always busy and about.

I hope you don't mind if I post all six options....

Here's No. 1:
Rather plain and simple, but maybe good for that.

no. 2

No. 3

no. 4 (that's his hand there - might have to get rid of the hand)

no. 5

And finally no. 6
I know some of the photos are rather vague, but I have so many photos of those kids, I am sure I can at least create a likeness in their faces. Some compositions leave a few problems with clothing, as I have to make it up in some areas. I wish I had better photos, but alas. This will have to do.

I am a bit embarrassed by uploading so many images, but I would really appreciate you thoughts on these compositions. If you think they are all bad, please tell me why?

Thanks so much!!

Sophie,

If I were in your position, I would stress the heirloom nature of the kids' portraits, and that it would be a much better solution to paint a pair of separate portraits, designed to hang as a pair, but still separatable for the children to take to their own homes when they are grown.

At a glance, I am not seeing combinations where the light on both subjects is similar enough to look as if they were actually sitting together. You would need several photos with both children to know how to properly size their heads.

Lastly, the only reason I can see to paint "together" instead of "separate" is to convey an interaction or relationship, and none of these combinations show the kids relating to one another. And perhaps they don't relate to each other...in which case you can tell the parent that they are so uniquely individual in their personalities that each should have the chance to shine.

Thank you so much, Chris, for your quick and knowledgeable response! I agree, that two seperate portraits would probably be better. I will definitely think about suggesting that to the clients. But we've already, sort-of, agreed on the double portrait, so will try to work with what I've got as well. You are right that the children don't interact much, they did not seem to do so when I met them either.

As to the lighting....I know I have to keep an eye on the direction of the light. The photos that I've combined were all taken on the same sofa, next to the same window, at practically the same time. When I paint I can make sure the light warmth or colour is the same and make sure the direction is not off. But I see your point.

I've got plenty of photos of the children together, so I can roughly check the right head sizes.

Thanks again, for your reply. I really appreciate you input! You've given me plenty to think about.

Of the ones you posted I like #3 the best, but as Chris mentioned, there's a problem in all of them about the light direction. The boy's face has light coming from two directions and the girl's face has just one, for example.

I also wouldn't choose a composition where one of the heads was much larger than the other, even if it's because one kid was closer to the camera. It sends a message about importance that you and the parents may not want. The key to solving that problem is during the photo shoot -- the camera should not be too close to the subjects and then any difference in sizes due to distance will be minimized.

Also, how do you plan to handle the girl's braces? Paint them as they are? I've painted a couple of kids with braces and we go for a closed-mouth smile on those portraits.

Thanks so much, Michele for taking a look as well. I've agreed with the clients to not paint her braces. Hope I'll succeed there. I see your point on the importance of the sitters when one is painted larger than the other.

I know about the lighting issue. I'd have to add that slightly to the girl then as well.

I've come up with three more compositions, of which I quite like no. 7 (the clients left it up to me to put the dog in or not) and 8 (but what to do about that big empty wall space?)
Here they are:
http://www.sophieploeg.com/ALL.jpg(numbering is different there)

Thanks again. I find this really difficult, but am determined to bring this one to a succesful end. I really appreciate your comments.