What do you do with all the photographs

[Mari DeRuntz]

I've done some further research on this Forum about how the pros approach this topic and they ALL seem to mirror your responses, Michael, Leslie, Mike and Alicia.

I'm curious what Cynthia's opinion is, as she has seen this business as an art consultant/agent, as well as some of the other pros out there. Marvin? Karin Wells? John de la Vega (you're one of my favorites!) William Whitaker? And other names that we don't normally see on this forum??

I guess I see the camera as one of many tools to explore the subject; but the results of a photoshoot can take over the whole medium, to the degree that the client has to have a piece of the exploration process.

I'm a chef, and trust me, the restaurant guest does not thankfully have any idea of the process. In truth, the best food is nowhere near "Emeril Live" or its nemesis, "Kitchen Confidential." If the food works, the process has transcended the raw ingredients, the chef's technical skills, the waiter's mood, the general manager's profit & loss statement. Does anyone see the point I'm trying to make?

In art, something elemental and great happens despite all the hands that have to touch the product to get it to the point where it peaks. I think the bond between the artist and the client has to be built on trust and an open communication of goals, of course. I think this should have more to do with the artist's portfolio of similar paintings, exploratory tonal drawings and color oil sketches -- in other words, a small body of exploration -- than with the client picking a particular photographic reference.

I'll go back to hiding under my rock, now...

[Cynthia Daniel]

Robert Schoeller was dead against letting the client have any of the photos. It's been too many years to remember a lot of details, but I do remember that he didn't want the client sitting looking at a photo and comparing it to the painting.

[Leslie Ficcaglia]

Cynthia, that's an excellent argument against allowing them to keep the photos, although if you're really taking different elements from different photos it does mitigate somewhat against comparisons. But you're right, it's a good idea to retain possession of them. That helps me to firm up my own resolve!

And Mari, I see your analogy regarding chefs and food preparation, but it's not quite the same situation; the chef isn't attempting to capture the essential quality of a particular lamb known in every possible variation of winsome caper and nuzzle and loved by the diner. He can simply treat it as a generic cut of meat and do his magic on that blank canvas. Portraiture is different. As I mentioned, often the expression I would choose because I think it's the most attractive and flattering to the subject means something much less appealing to the client. Since I seem to specialize in expressions, my own choice of the proper reference photos without client input could result in a work that the client is vaguely dissatisfied with without being certain why. But again, everyone has his or her own way of working; that's what works for me.

[Michael Georges]

No Smoke and Mirrors
Portraiture is a business and portrait artists are skilled artisans. There are no smoke and mirrors, nor IMO, should we be presenting portraiture as "some magical thing". No rabbits, no hats, no going behind the curtain. I want my client to be completely happy with their portrait, so I share exactly what I am doing with them - I take them with me through the process. They see sketches, value studies, the underpainting, and the final - with the ability to give me input at any time. They know exactly what they are getting and they feel like they are part of the process - it makes for a happier client.

Better than the Photos
I strive always to make my paintings better than the photo reference I use. Thereby, I have not yet had a problem letting my client see the pics we took because the final painting, again IMO, had better be more lifelike and luminous than any reference photo could ever hope to be.

To me, it's all about setting expectations of yourself and your client.

[Leslie Ficcaglia]

Here, here, Michael! I agree completely.

[John de la Vega]

Hi Mari, thank you for appreciating my opinions. In regard to showing the client photos or other material we use to produce the portrait, I always think of John Howard Sanden's story:

Client: "Mr. Sanden, remember those photographs you took to do the portrait?
Sanden (hand on chin): "Photographs? Hmm! What photographs?"

Even though I wouldn't say NEVER show the client any sources, particularly photographs, used for our work, my extensive experience has shown me that in most cases it is counterproductive. The reason is simple: the ONLY image the client is REALLY interested in is the finished (and I mean FINISHED) painting. Particular perceptions and expectations planted in the client's mind at any time of the process will color and most definitely affect, positively or negatively, the way they see the finished product. We ought not to take any chances. Bringing the client 'into' what we're doing, even if in some cases it may reassure or placate an impatient individual, or make them feel they're sharing in our creation, rarely, if ever, in my experience, contributes to a better result (needless to say, that's what we're talking about here). There other ways to share and 'educate' the client or the public, and making them feel a part of what we do (no condescension here whatsoever).

The only thing I show the client are studies in oils (usually done on canvas board, 14"X18") to decide pose, colors, background, etc. In these studies the face has no detail at all, but I make sure I capture the look, attitude or 'spirit' of the subject as best I can. In many cases (in most, as a matter of fact) the client only sees PHOTOGRAPHS of these studies, and because of their loose or sketchy nature, comparison with the finished product will inevitably work in our favor.

If all this sounds like we should surround ourselves in mystery and secrecy, that's absolutely right! Not because as artists we should feed some sort of aura or 'mystique', but because, as artists, we are sensitive and work in unique conditions, and we are VERY vulnerable to extraneous influences. Very rarely the client, no matter how much of an admirer of what we do or how well disposed to accept the product of our labor, is fully attuned to our 'vibrational level' (there are, of course, exceptionally aware and knowledgeable clients).

Yes, Mari, I feel what we do IS magical and mysterious. I am constantly amazed, baffled, and humbled by the process myself, knowing it often to be too fragile and delicate to jeopardize its harmony and beauty with a colored perception. Once that beauty sees the full light of day, then and only then, I feel, it is ready to take on the world, which will then treat it, hopefully, with the understanding and reverence it deserves.

[Michele Rushworth]

Here's my process and it seems to work for me. I take a hundred or so photos, digitally. (It's great to know on the spot how the poses and lighting look. I don't let the client look at the digital camera screen to give me their opinion, though. They get into micro management, too often. )

I spend the next day or so reviewing the photos, deciding which ones I like and which face will go with which body because of the lighting/pose, etc. I may combine them in Photoshop to be sure.

I choose three or so compositions and make very simple sketches of those overall images, on paper, in pencil. I show these sketches to the client along with prints of the original source photos (the possible faces, the possible body poses they might go with, these flowers for the background, etc.) I don't show the Photoshop composites. I show the clients the face photos because I want to know what expression the client is expecting.

I don't delete or throw out any of the photos. There have been many times while I'm painting that I discover a problem I need to solve and find that some other photo in the group has just the right reference I need to paint the shirt collar the way I want it, or whatever.

I let the client choose which one overall composition to go with. I ask him or her to initial the sketch and the source photos they have chosen so there's no mistake later.

And here is the key: the client never sees those photos again! I don't want them comparing the photos to the finished painting -- it invites nitpicking -- and I also feel that giving out free snapshots diminishes the value of the painting.

This is just my methodology and other approaches may work better for other artists.

[Linda Ciallelo]

I always had two copies of the photos made. One for the client and one for me. I always gave all the photos and the negatives (their set only) to the client. That was before I switched to a digital camera. I kept my set of photos and the possibility that I can get figurative paintings, to sell, from my set of the photos. I treat every commission as if they are modeling for me. I take some photos for me and some for the client. They get free photos and I get free models. They pay for the portrait. I have done hundreds of these portraits and never had a problem with the client comparing the photo to the drawing. The drawing is always better than the photo.

[Leslie Ficcaglia]

Linda, I did the two-copies procedure, also, but then I found myself resenting clients who wanted to use them as Christmas cards or enlarge them and give them for gifts or whatever. I felt that they should have recognized that my photos were copyrighted just as my paintings were, and that they were made only as a reference tool for the portrait.

If the client is a friend I'll usually make extras, but when it's purely a business contact I've stopped doing that. I'm not concerned about negative comparisons because the painting usually takes elements from several different photos and doesn't replicate any one, but I do want to be viewed as a painter, not a photographer, so making only one set of prints works better for me.

[Alicia Kornick]

Leslie,

That's the problem I am running into. The clients are enlarging and duplicating the photos and sending them out to family and friends and I don't particularly like them doing that. I have decided that I will no longer give them the photos.
Alicia