Lyndsey

[Kimberly Dow]

I was supposed to photograph this girl at a vineyard today, but it was storming. It cleared up later and she came over to my house to try a few shots. The ones in the black dress with the roses were shot from inside the house looking out the window - the light was real interesting. It was about 6pm and I believe I was facing the camera about SW.

I put her in that dress of my daughter's and what is funny is that the only rose left after the storm is the one she is holding. If I painted it right perhaps the roses on the dress could look like they were on the vine.

[Kimberly Dow]

I really like the one with the sky/clouds behind her, but her face is in such shadow.

[Mike McCarty]

I like the first and not the second. In the first I find that I want to bring her closer to me, I can imagine countryside, I want to see this beautiful face. When you have a compelling subject I feel they should be the main attraction, not just one more element. This is probably just the difference in how we see things as artists and gets into that portrait vs figurative argument.

I would either eliminate the dress pattern or eliminate the foreground flowers. I think the presence of both is a bit distraction.

The third image is a prime example of the need for spot metering. You want to tell the camera to expose for the subject and not the very bright background, otherwise, the subject will always be overwhelmed by the background.

If you don't have spot metering you can move closer to the subject and take an exposure eliminating most of the background. Then, hold down the shutter release halfway to retain the exposure and reframe and shoot. Or, dial in that captured exposure and shoot in manual mode.

[Kimberly Dow]

As always Mike you are full of good advice. I am going to practice these backlit situations so I can get it right next time.

I agree, I like the first one better also - and I did crop it in closer last night. To me it isn't really portrait vs. figurative...it's more about finances. I wasn't hired to do a portrait, so deciding what will make it possible to sell to strangers later is part of the equation. I wish it was a commission so I could just do a straight portrait.

I am so disappointed you do not like the dress & roses! That was really appealing to me. When I posted this one Mike, I was thinking she looks like one of the beautiful girls you always photograph.

[Sharon Knettell]

Kimberly,

You have a really beautiful model, but not really workable photos.

I have done and sold figurative work. An example is the Dakini picture in unveilings, as well as the picture of the red haired dancer with the hearts skirt shown on my introduction.

Do a picture that appeals to you and you would like to do. Do not worry about the end market. I never thought the red haired dancer would ever sell, but it sold in a heartbeat.

One thing I learned in my years as an advertising illustrator is to really have a clear and well designed image. One that impacts the viewer from the getgo.

The black dress with the roses is just to fussy and makes for a confusing image. The pose in the swing is just to crabbed and the background again is more the story.

Focus in her face, take Mike's advice on metering. I drag my camera in closer all the time to check even though I have a spot meter. Have an assistant hold a large white piece of cardboard or foamcore to reflect light back into her face. You can actually see the changes it makes. I actually have a nifty 36" portable reflector that folds up into a small bag.

The simple figure against the sky is the best, just redo it with simple modifications. Just do subtle head changes, don't go crazy. A good professional photographer might take several rolls of film of just ONE good pose or idea and modify it slightly on each frame, and pick out the best.

[Kimberly Dow]

Thank you for all the good advice Sharon. The hardest part is trying not to think of sales, but I am sure you are right.

I am going to go back and look at your work again. It is simply beautiful and I am not suprised it sold immediately. When you first posted those I recall thinking that if I still lived iin NH I would have made a trip down to see your work in person.

[Sharon Knettell]

There is a reason we become artists, and I dare say it is NOT to paint the visions of others. There are times, it is all too true that we have to do something to pay for our existence. I have plenty of those mysterious little potboilers lurking around ready to make an unwanted appearance at any moment. Fortunately, I have let them go unsigned or scribble an undecipherable cartouche on them, so like a bad mother I can deny most of them.

Paint something you really love to paint, something that defines you and your point of view. Generally speaking that orders ones style and give an undeniable originality and content to our work. That is not possible to do when we are always consulting that imaginary client, who in most cases can be a real killjoy and a big stifler of creativity.

You can always have a group of drawings or still lifes that can be turned into sales, if the direction you want to go seems a little scary, but enticing. It is better to be a little scared than to always take the safest route. You never know what you can achieve unless you challenge yourself.

From the lovely work I have seen you do, you certainly are
up to the challenge.

Good Luck, I will be looking forward to your next piece.

[Kimberly Dow]

Now THOSE are words of wisdom - and written so eloquently! Bless you for giving me permission to paint what I want.

I had Lyndsey back today to try some backlit photos. By the time she arrived a storm had blown in, but I did get this one shot I love.

[Sharon Knettell]

Kimberly,

This is so close I want to come out and hold the reflector for you.

I still think you need more emphasis and light on her face. The door frame dominates too much, though the composition is lovely.

Think complementary color. This is basically a red and green composition, a sharp red accent, small and subtle would help. A pot of red geraniums at the bottom of the door frame, more light on her face and I think the whole thing would, in my opinion be a stronger image.

Before I started my present painting, it went through three major changes. The pose and composition stayed the same, but I made color changes in hair, (pink to natural), costume, (white to pale pink) and the background went from solid grey green to a yellow chinoiserie.

[Sharon Knettell]

Kimberly,

This occurred to me a little later. Put her in slightly in front of the door frame, so the vertical is not so dominant.

I will go away now.