Photo trap?

[Linda Brandon]

Just so you know where I am in this life and/or photo reference debate, I have to say here that I have done very few commissioned oil portraits without using photos. Someday I hope to find the time and the clientele who will sit for me for the time it will take to develop an oil painting with the degree of finish and the level of likeness that will satisfy all parties. (Plus, I had better pick up more talent at doing this somewhere along the line.)

When I was talking about life and wetness, I was thinking that most photographs don't seem to pick up the subtle moisture and reflections of living surfaces, human skin in particular. I think this comes across better when observed in person. I'm looking at the Nelson Shanks portrait on the cover of the recent Artists magazine as I type this; I don't know whether he painted this woman from life or from photos but that skin just pulses with life.

Jeff, there's an old post of Peggy's in which she discusses movement in her portraits. I think it's a portrait of a little boy standing up. If I have time tomorrow I'll search around for it, it's an interesting discussion.


Allan and Sharon, you've given me a lot to think about, and thank you. I like the idea of tension between two points.

Sharon, you can be Dr. Frankenstein, but can I then be Igor? Or was he the goof-off who came back with the wrong brain?

[Linda Brandon]

Originally Posted by Linda Brandon

Jeff, there's an old post of Peggy's in which she discusses movement in her portraits. I think it's a portrait of a little boy standing up. If I have time tomorrow I'll search around for it, it's an interesting discussion.

I found it this morning. Peggy discusses movement and "the potential for movement" in her lovely portrait of Jackson, linked below:

http://forum.portraitartist.com/showthread.php?t=474

[Sharon Knettell]

Linda,

It is a dilemma. How to get a client to sit. Mostly you can't, unless your reputation is so huge patrons are banging down the doors. My doors are completely intact.

I decided several years ago that I did want my clients to sit. On my last commissioned piece I told them that even though I was taking photos I wanted some sittings.

After the photos were taken the clients said that they would not sit after all. As this was for myself and my portrait rep a huge commission and as I had hired at great expense a photographer ,I was, to wit, a rat trapped. I finished the paintings to their great delight, not to mention my reps. However something had died for me after that experience. I have not and could not do another paid portrait like that again. My requirements are that they sit, as I want them, period. My calender is empty.

But that is my nature, my decision.

I would never to presume or judge the quality of another's work as to whither it was done from photos or from life. Some work interpreted from photos can be exquisite, see Marvin Mattleson's latest oeuvre, and some done from life, horrendous.

The reason I perhaps press for more work done from life is that I see so much work that is so obviously copied from photos. They are just renderings, "See Ma, I am a portrait artist"! There has to be some attempt at studying the human form in a classical manner, before you get to work from photos. So much is missed and so much of the work today looks alike.

Need I mention I have an 18 year old car and a cranky tapped husband. When I met him I was making big bucks as an illustrator. Imagine his surprise now!

My point of view is not , kiddies, a formula for success!

I think Igor would do, by the way your self portrait is gorgeous!

Sincerely,