Sarah

[Steven Sweeney]

I have ... assumed from your recommendation to go to black and white that my skin tones are way off too.

No, not at all. I wasn't speaking at all to the skin tones (a confusing term, as it implicates value, which I was talking about.) You have plenty of color information, but you need a place to put it.

As to working in difficult circumstances, I think the way you can maximize the use of the time might be to, if the light's not good enough for value work, to switch to pencil or charcoal for that session if that's an option, but at least to focus on accuracy of line and shape, with whatever value or color work might still be available, if any that day. But don't stretch into an area that just isn't available during that session.

I've often done so-called "long pose" life drawings (over sessions through several weeks) through Minnesota winter months under only natural light. Some days were, as they say, diamonds and some days were coal. If there was a thick overcast, then on that day, the model's figure flattened out as the value shapes disappeared. On those days I would work solely on drawing accuracy.

You have to make adjustments like that when your lighting is variable or unpredictable. To be quite frank, that's why even so many pros on site -- almost all of whom, though, have great depth of experience with life work -- work from photos. Uncontrollable variations in lighting (or model availability) cut deeply into the work schedule. Most are very accomplished in getting the reference material they need to produce good work. The best of the them can make it up -- but only the best of them. The ones who want to remain professional will never quit doing life work, so my advice to you is to continue to do open studio work.