Likeness? - Page 2

Michele Rushworth · 09-30-2003, 07:36 PM

I would not hesitate to go back and take more photos until you get the perfect shot. Then I would have the mom sign off on that one ideal photo of the daughter's face before you do any more work on it.

If the project hinges on having the daughter laughing at her brother, that's going to take a lot of photography (or terrific luck) to get just the right shot. I would never attempt to combine two or more face reference photos -- too much is different and has to be guessed at.

Perhaps this is the reason for your past difficulty with likenesses. I choose ONE face shot to work from and that's it.

Linda Brandon · 10-01-2003, 12:35 PM

Andrea,

Whenever I talk a client out of a "laughing face portrait" I feel as if I've dodged a bullet. I have a terrible time trying to make them look "natural". You might wander through the SOG stable of artists to see if you can find someone who paints them well, and study what lighting he/she uses. The strong outdoor light you have in your portrait also is making it hard for you to find attractive shadow patterns. Good lighting is EVERYTHING in portraiture.

You might also explain to your client that a photo is different from a painting on many levels and that an expression that is perfect for a photo may not be successful in a painting. Clearly this is a lively, happy child and you can show her happiness in other ways than a flat-out laugh.

I agree with Michele - take as many more photos as you need and take your time with the head.

Andrea Kantrowitz · 10-01-2003, 04:34 PM

Thanks for the insight guys--I feel like I understand much better why this has been difficult and next time(!) will feel more assertive when working with the client on finalizing the composition. (Now I know it's not JUST my lack of talent)

I really admire the sunny natural feeling in your outdoor portraits, Linda (I was looking at your website, particularly "Allena" and "Chloe") I especially love the way you are able to keep the shadow colors so fresh and high-key.

Mark Lovett · 10-13-2003, 10:26 PM

Hi Andrea,

Nice job on that painting. You must have worked hard for quite a long time based on the complexity of the composition.

I really like the last photo of the little girl that you said has the nice expression but is not as clear. Are you going to use that one?

Mark

Mary Pedini · 10-23-2003, 10:17 AM

Hi Andrea,

I was curious as to how you resolved your commission of the three siblings. I really loved the colors and composition in this. Did you adjust the girl's forehead? I'll bet that would have made a big difference.

I know it can be very difficult to schedule several photo shoots with young children. If you need to work with what you have, altering just a few things that people have suggested may do the trick.

Hope its going well.

Mary

Andrea Kantrowitz · 10-24-2003, 09:24 AM

Hi --thanks to everyone. with your help, the parents are finally delighted. Changing the angle to a clearer 3/4 view was the key. (thanks, Linda!)

I think I lost a little something in the composition, because there's less variety in the angles and expressions of the children's faces now, but the client is happy so what else matters?

Andrea Kantrowitz · 10-24-2003, 09:26 AM

detail of revised head:

Michele Rushworth · 10-24-2003, 10:11 AM

What a lovely composition! No wonder the parents are delighted.

Timothy C. Tyler · 10-25-2003, 03:28 PM

Some angles are just hard to paint. When you can't read a person from life or see what you want to in the photos then it's very hard to be happy with the painting. The mouth at this angle is simply hard to see. The highlight of the nose is lost into the highlight of the cheek. Just choose easier angles that convey form better.