Young Woman
 

Hi all,

I haven't been here much due to my shoulder, so I've been doing some landscapes, thinking they would be easier. Ha, this is a whole new ballgame!

But, I'd like some feedback on this photo. I fell in love with it as it came up on the screen. I also have about 100 other reference shots that will help me.

What do you think?

Jean

Hi, Jean, long time no see, and sorry to hear that the physical impediments are still in play. Also -- I've tried some landscapes this summer, thinking I needed a break from the "too hard" portraits, and what a shocker. I have a renewed, deeply felt reverence for landscapists.

I tried to capture your image, using two different browsers, to no avail -- not your fault, but the result of my dial-up connection on a noisy, semi-rural line and my antiquated software. I'm not going to do anything about either, as I'm gradually becoming a happy Luddite.

So I'll have to just use words to say that I would definitely not try to produce a painting from this photograph. It simply cannot pass even the initial "squint" test, which shows a dark, roughly human-shaped object in front of a brilliantly-lit background. You would have to invent about 80 per cent of the lighting to make this work. Better to begin with a better resource. Your subject is interesting and beautiful and deserves to be placed in lighting sufficient to bring out those qualities.

Hi Steven, and how are you? I'm surrounded by so much beauty, I finally decided to paint some of it. Certainly not as detailed as portraiture, but it's taken awhile to just duplicate green!

I've changed the exposure on this shot, maybe this will help change your mind. I also cropped closer so you can actually see more of her face. I'm not worried about the background, as I won't be painting it exact anyway. Can you squint better this time? I love the rim lighting in this, so please fire away if you think it will still be an awful painting.

Jean

Using my personal limitations as my guide, I have to say that I would still have trouble making a satisfactory painting from this. The extremely narrow value range in about 95% of the subject would have to be handled more deftly than I could manage, in order to communicate a sense of form.

I understand the allure of rim lighting and in fact one of my all-time favorite paintings (I guess I may as well admit that it

Now, twelve hours later, I'm looking at your second post on a different computer (Mac), different platform and browser, and different eyes (no lights on other than the monitor), and some of my "objections" or cautions are lessened.

I guess you'll just have to try it out and see what works. That will be the only answer that matters in the end.

I blew the photo up to a 7.5 inch head size, stood across the room and looked at it. I don't have to squint, just take my glasses off (instant blur) and I could easily make it out. I'm glad you took the time to check it out again, thank you!

Everyone loved this shot as soon as it came up, she looks so classic. I really want to try it, so I may give it a shot. If it doesn't work I should know quite early on, and will simply go with our second choice and start over.

At least you've helped me be more aware of the problems I'm facing with this and I appreciate your honesty. The background is blown-out in this shot, but I have others that aren't. When I was actually photographing it certainly was not this light. It also was photographed on my front porch, so all I really have to do is go outside to see the accurate colors.

My landscapes have mainly been of the view in my own yard. It was time to paint what I see everyday. Not as easy as it looks.

Jean

Hi Jean,

I've attached a modified version of your photo after using Photoshop's Levels and Brightness/Contrast controls. I don't think the lighting is a problem with this photo.

I'm not sure I like the facial expression or awkwardness of the shoulder and strap on our left, though. Just my opinion. Lovely model. Can you post some of the other shots you took?

Hi Michele,

Thank you for your reply and many, many congratulations! I've listened to the silence and thought much about Steven's comments and have been negotiating with the client about this particular pose. I love the backlight and the softness of her face in this shot. I also didn't like the arm position on the left and have done some studies. I moved the tree from the background to the forground and that works much better. No awkwardness, and it stops the eye instead of leading the eye right out of the painting. My biggest problem with this shot is her other arm. I want her hand in it. Period! She lives out of state, so I can't get her back here till Christmas so I will have to use a stand in. Then see if I like that.

I have many other shots that I love also, but they seem so "normal". I'll be back in later and post them. As I said before, I've been talking to the client about two other poses that were nice. So I'll post those.

Jean

Jean, I don't readily venture into this particular area of the forum often, but this is a perfect illustration of how difficult it can be to read form from a photograph.

I return to Steven's first advice: I was able to capture your image and put it up next to a Waterhouse drawing of a girl's head in a similar pose but lit in a way that describes form instead of hiding it. The Waterhouse girl is very softly rendered, but the light is clearly describing the planes of the head and the features of her lovely face.

Hi Mari, I'm surprised to see you here, but glad that you decided to take a look at this. Thank you for taking the time to illustrate your point so beautifully.

I think I fell in love with her hair in this photo, and now I'm really seeing the dubious decision to base my choice on "hair" and not her face.

Here are two more shots that show form much better, and one just for personality. I could not get this young woman to stop smiling so we're going to have teeth in this painting!

I've lost her hands in one shot but have another showing the same placement, so I'm unconcerned about that. She's looking right at her mother and I like the love that shows so obviously in her face.

We also have the direct gaze toward the camera, which also is very engaging. She was sitting on the porch railing, hence the weird look of her hip on the left side. I would change that, and tone the brightness way down. I couldn't get her off the railing either. She said she was a little shy----Haha, no way! I loved working with her.

Of course her true colors came out with her "little angel" pose.

Jean

Since I haven't really chosen my ref yet, I've done very little cropping and no studies.