Johnnie

[Alicia Kornick]

Mike,

I wasn't dropped on my collarbone as a child, I was dropped on my head. Just kidding, although sometimes I wonder. I do think as you do, that a perfect shot is just another shoot away. I just think I would focus on the neck, because those collar bones are a little prominent (maybe I'm a little envious).

Can't understand why the girl has never modeled, she is a natural. Better hurry up before some scout spots her and whisks her off to New York for a photo layout. Can't wait to see the stretched out couch shot.

[Mike McCarty]

Steven,

I agree on all counts, especially about the leaf patterns. I do think it might be fun to try #4 in a very loose style (as if I could produce one).

As to the #3 b&w, I took several varying the pose slightly. The one I showed above I thought had a nice face. I'll show one more here to follow. With this one I like one hand but the other is pretty il-defined.

I do think as you do that a perfect shot is just another shoot away.

Alicia,

I can relate to your comment above. It is of course a hazardous philosophy to adopt. I am reminded of a movie staring Paul Newman as a broken down attorney. He was representing a vegetated woman against a couple of doctors, don't remember the name of the movie. When things seemed to be hopeless someone said to him "don't worry there will be other cases." To this he respnded: "There are no other cases, this is the case. Over and over he chanted to himself. There are no other cases, this is the case."

There is a lot of philosophy packed into that short sentence. We are never guaranteed another case, another painting, or another day for that matter. It can be a cop out for not doing your best on what you have before you. Carpe diem I suppose.

We had our session in the morning and it turned out to be fairly brief, she had to get to work. I am hopeful for another try. If I never get another chance I think I could make a painting out of something above.

[Jim Riley]

Mike,

My changes to #1 were meant to enhance the pose and prevent the figure from looking as though it were growing out of the bottom right corner of the frame. #4 has this feeling also. I'm not sure that I would position her as much left as I have but I think the turn of head and eyes looking toward the viewer overrides the guideline that recommends more space in front of a face than behind it. The head placed high adds stature and dignity.

I also see enough form in the face to prevent flatness and prefer it to painting the shadows as seen in the other options. I like the revised #3 but it looks like a forced pose.

[Mike McCarty]

Thanks Jim,

That's an interesting point about the turn of the head and eyes. I get myself in a rut, it's nice to share these thoughts.

On a different thread perhaps...

With our increased ability to share what we know, compared to the masters of the past, you would think that the greatest painters to have ever lived would be alive and working today (not that there aren't some good ones). Not to mention materials, lights, eyeglasses, etc. Maybe we also have more distractions, which negate our so called advantages. Ah me.

[Linda Ciallelo]

I'm voting for number three. I really like the composition and the light in that one. It's very classic and powerful.