Makeshift Photo Studio

Patricia Joyce · 03-27-2006, 10:47 AM

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!

Mischa Milosevic · 03-27-2006, 12:05 PM

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

Patricia Joyce · 03-27-2006, 12:11 PM

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.

Mischa Milosevic · 03-27-2006, 02:27 PM

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

Ilaria Rosselli Del Turco · 03-27-2006, 04:38 PM

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

Richard Monro · 03-27-2006, 05:40 PM

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.