Next Up . . .

[Patricia Joyce]

I guess I am really lucky. I will never run out of models to study. I have twenty nieces and nephews and all but three live in the Cleveland area. All of a sudden (maybe cuz my drawings are improving ) they all want me to do their portrait. So, this is Jim and I was at their house to pick up his sister who posed for me all day Monday and he sat for a few seconds. What do you think? You cannot get this kid to stop smiling! And he looks uncomfortable in all the shots except these with his head in his hand. I wonder if there is enough contrast??

[Mike McCarty]

Patricia,

I think this would be difficult. As you surmised, there is too little variation of light and shadow.

If you must photograph outdoors move your subject under, next to, or adjacent to some structure that has a darker less reflective aspect to it. It's like you are recreating all that is good about a room with a window, namely: a lower ambient shadow light combined with the higher key window light. Your building here is giving off a lot of reflected light and defeating the shadowed side. Notice how the boys darker shirt is beginning to provide this desired shadow to his forearm. Also, be mindful of the position of where the shadow may fall. In your example, the pose would not take advantage of the shadows created by this darker component.

I hope you don't mind me giving an example here of what I mean.

Also, I think you could get more information out of his eyes if you were to bring him either indoors, or, in a better outdoor location. I've heard it said that if you must be in the bright outdoors you should have your subject close their eyes for a few moments, then take the picture immediately upon their opening. The eyes will be wider and less squinting, at least for a short time.

[Kimberly Dow]

I agree with Mike - I would keep trying and not paint either of these. Lucky you, having all these models!

[Patricia Joyce]

So this explains why so many of your beauties are leaning against a tree! Your explanation was very good and I see exactly what you mean by looking at the arm. I am REALLY slow when it comes to understanding photography. And I even took classes. I was the silly student who kept pulling black photo paper out of those bins of mysterious fluids. The most expensive class I ever took and it did nothing to improve my abilities to photograph subjects! You cannot know how thrilled I was when I bought a digital camera

Back to the drawing board...

Kim, I could hire out my nieces and nephews and my sisters might relinquish a few to you REAL cheap!!!

[Mike McCarty]

I am REALLY slow when it comes to understanding photography.

I think it is useful to separate the subject of photography from that of creating a well lit scene. After all, if you were to paint from life you would be faced with the same circumstances of needing to light your subject. The only difference is that after you have created your set up you photograph instead of paint.

Photography is really pretty simple, creating scenes suitable for painting is where the real magic lies.

I wish more time were spent on the subject of design and composition, the lighting being a part of design.