Portrait photography in general

[Michele Rushworth]

Marvin, can you elaborate on this statement:

The intelligent placement of the main light, with consideration to the structure and flaws of the subject.

Can you give us some examples, please?

[Marvin Mattelson]

I

[Alicia Kornick]

Marvin,

Would you share with us exactly what type of lights you use? Sorry if I missed it in an earlier post.

[Marvin Mattelson]

Alicia,

I use strobe lights manufactured by a Japanese company called Comet. They are very compact and are professional level quality. The power pack is the Comet Cb1200-iii Ultra Cmpct 1200ws Pk. I have two Comet Clx-25 Mini-g 2400ws Flash Heads. They are distributed by Dyna-Lite an American company.

They are extremely small and lightweight as compared to almost any other strobes. Since I use two lights (one main and one fill) this setup is extremely flexible. Depending on how I modify the light (softbox, reflector, umbrella or diffuser) I can recreate many types of lighting effects such as daylight, north light sunlight etc.

I like the powerpack and separate heads over the monolights which have the powerpack built into the head because there is much less of a chance of the light falling (less weight) and easier adjustment, since the pack can be placed near you. However you do need a special meter, a flash meter, to measure the light with all flash units. The cost of all this equipment is between $2000 and $2500. It seems pricey but working from good reference material saves a lot of time, and time is money.

You can, however, take excellent photos with much more economical equipment. The advantage of the strobes is that you can get greater light output without melting your subject. Sweaty subjects are not so ideal to paint. More light means greater depth of field (more things in focus) and the chance to use a finer grain film (more detail.)

In the past I have run one-day photography workshops demonstrating the procedure and, more importantly, explaining the photographic process in layman terms. The result is knowing how to take high quality photo reference on a consistent basis. If enough people were interested I would be happy to do this again.

The problem I see demonstrated both here and in the forum, as well as in all my years of teaching, even photos that look beautiful are not necessarily adequate in terms of recreating how the eye sees.

I am enclosing a recent photo I have taken for an upcoming portrait. In addition to what you see here (a hastily made preliminary print) the negative contains great shadow detail, which I can access by making lighter prints. I'll post the painting when I finish it.

I hope this is helpful.

[Peter J. Fasi]

Marvin, I'm not sure what to make of your last comment. Apparently, you don't think too much of photographers in general.

I appreciate the work of painters such as Thomas Eakins, William Merritt Chase, Jacques Dominique Ingres, Joaquin Sorolla y Battista, John Singer Sargent, Rembrandt, Caravaggio, Vermeer, Goya, Velasquez and Rubens.

I also appreciate the work of great portrait photographers such as Karsh, Horst, William McIntosh, Arnold Newman, Victor Skrebneski, Duane Michals, Matthew Rolston, Mapplethorpe, Charis, Timothy White, Herb Ritts, Greg Gorman, Penn and others. I could go on and on, but what's the point.

You've already made it clear that you don't think too highly of the crop of photographic technique books that are on the market. What are the alternatives? I've done a great deal of research and I have yet to find a portrait painting technique book that devotes more than about four pages to the subject of lighting. I've also been to Art school. Didn't get much help there at the time, either.

Let me reiterate a point that seems to fall on deaf ears all around. The reason to use a light, - any light, is to create a desired effect. Generally that effect is to model the face or create some separation, or fill in a shadow area with just enough detail that would otherwise be lost due to the compressed latitude of most modern film emulsions.

I think Michele was looking for some direction, as in detailed examples of how to use light to create a 'pleasing' portrait. Instead she got a discourse on the philosophy of light in a portrait. A skillful artist can work miracles, so to speak, but how does one become a skillful artist without the proper direction? Who is to teach?

You do great work, BTW.

[Michele Rushworth]

Beautiful photograph!

Marvin, when I asked my earlier question about using flattering light for different subjects I was wondering if you could share with us any tips as to how to position the light/camera to solve specific problems: ie lighting and photographing a heavy model in the most flattering way, minimizing wrinkles, etc.

I'm sure what you know could fill volumes, but can you share a couple of quick pointers?

[Peter J. Fasi]

I would be very interested in seeing the finished result. Two items that caught my eye, immediately were the spread fingers in the right hand, and the way the chair's arm meets the elbow of the left arm. Do you plan on modifying the pose in the final portrait?

[Marvin Mattelson]

Peter and Michele,

Yes you are partially correct in your assumption. I don

[Michele Rushworth]

Thank you, Marvin! Tips like that were exactly what I was looking for.

[Alicia Kornick]

Thanks Marvin,

At this point in time, I can't afford to spend $2000.00 on lights, but I will investigate a cheaper way to go. I think my photographs need something and it is more light. I don't want to have to lug a great deal of equipment around and will look for a simple solution.

Just want you to know that I, as well as the other painters out there who are struggling and searching for answers, appreciate the time and effort you put into your answers. I have not been lucky enough to devote my life to painting and studying the art of painting as you have. I have come to love it later in life, although it was always with me. It means a great deal to be able to sit at the computer and ask a question from artists such as you and others on this forum. The forum is an Atelier without walls.

I am sure others struggle as I do. I remember not that long ago when I painted my first portrait how absolutely awful it was. I was determined then and there that I would keep reading, painting and searching for answers. Answers are not easy to find. There is no one definitive book that we can all go to that says, "this is the way to do it". So, I am locked into this pattern of searching, struggling and experimentation. At times it is frustrating, but also exhilirating when you step back and think, whoa! thats not too shabby. There is always that little voice whispering in your ear and telling you you know you can do better.

Oh and by the way, I've scrubbed on brain surgery and I must say that the instrumentation for brain surgery is a little more complicated than what we use, but you're right, this is harder. Sorry if I rambled a bit, but you know we painters spend an awful lot of time alone smelling paint fumes.