Sarah & Kenneth

Jesse C. Draper · 03-02-2006, 01:11 AM

I took these with the help of a northlight window.

Which one would make a better painting?

(I have both photos in color and in black and white; I've included one of each for comparison purposes)

Richard Monro · 03-02-2006, 06:54 AM

Jesse,
My vote is for the second picture. It captures the mood nicely. Nice photos!

Claudemir Bonfim · 03-02-2006, 02:52 PM

I like the second one.
The only point I see here is that the face of the gentleman lacks lighting, but you can edit it in photoshop.

Sharon Knettell · 03-02-2006, 03:58 PM

Jesse,

What angle did you shoot these from? You seem a bit high as the man's thighs are telescoping down. Also did you use a portrait lens? You seem rather close and there is some distortion.

Do not fret, your eye for a figurative compostion is sound and these are well lit and posed.

Jesse C. Draper · 03-02-2006, 06:17 PM

I know they a little distorted.

it was a small room and my back was against the wall. Where they are standing in the photo was the best light.

This was a chance ecounter-
I used their digital camera. A low end one

She had her baby two days after I took these pictures.

Thanks for the help guys!

I know that in a photograph, closed eyes work, but what about in a painting?

Sharon Knettell · 03-02-2006, 06:49 PM

Jesse,

Is this a commission or are you doing this for yourself?

Squinting is best for both photos AND painting.

At this point in your career, you want to give yourself the BEST reference possible. The photo works because it is a photo. Some photos do not translate well into paintings, This is only adequate, the distortions which will become more apparent in a painting. Only paint from reference that is photographed from where you would be standing to paint the picture. Unless you want a less traditional and edgier piece, which this particular subject does not lend itself to, you can photograph it from any angle and use any distortion.

It will not make a great portfolio piece, but if you need the money, who am I to say.

Mischa Milosevic · 03-02-2006, 08:18 PM

Jesse, Nice photos. I think ether would make a wonderful painting. I have learned the hard way how valuable a good reference photo is if I

Sharon Knettell · 03-03-2006, 07:05 PM

Mischa,

If you noticed in the past, the fine portrait artist did two things;

A: Placed their figures on a raised dais generally 15 inches- 18 inches.

B: Stood at least 8-20 feet away from them.

Photos should be chest high to mimic the height of a dais. If you are too high, the figure loses it's elegance and looks squat.

If you work or shoot too closely, anything that protrudes, ie. a nose, a knee is much too exaggerated. That is why you need a portrait lens to minimize bulbous noses.

If you notice in this picture the man's shoulders are way too wide for the rest of him and his figure narrows way too much. The woman's arm looks rather stubby. The noses on each look too large as well. If these were taken at a better angle with a proper focal length they would have worked.

The poses of the two figures work well together and are well integrated, but that does not make up for the distortion.

Mischa Milosevic · 03-04-2006, 09:33 PM

Sharon, thank you for taking the time. Is a 18-70mm lens a good portrait lens and what is a good distance for a head shot? I hope to purchase a Nikon d70s on Monday and hope to learn a few things before doing a commission shot.

Sharon Knettell · 03-05-2006, 10:57 AM

Mischa,

I work mainly from life. I do not have a digital. When I use a camera I use is a Nikon FE2 which is mostly manual and I use fixed focal lenses. The lenses I use are a 55/f2.8 and a 85/f1.2.
Both are extremely fast lenses. The 55 is great for copy work because in photo parlance it is almost a one to one ratio which means no distortion and is invaluable in photographing paintings. It does (nor does the 80) barrel which means distort or round straight vertical edges.You have to check out the speed of your lens, that is THE most important. The faster the lens, the easier it is to take people in available light.

I use the 55 for full length and the 85 for head shots and full length. Before you shoot pick out the place you would be painting from and see what length gives you the most accurate picture of what you see with your eyes.

Mike McCarty is the go to guy here for digital. But I would make sure that the zoom lens you get is able to accomplish the above goals.

No camera is going to be as accurate as the human eye. For example, seated figures, especially straight on are best accomplished by proper life drawing first.

There is a Nikon D12 I am waiting to get, you get bigger and more accurate blowups without graininess, and is why I do not like the digitals as yet.