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michael

Michael Edwards

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I have been out this morning taking some photos for a new commission and a few thoughts struck me which may be of interest to others. For me it was the ideal time to take them as it was autumn and the sky was overcast although this is probably contrary to many artists ideal time to take photos for reference material. So why do I like it? <div class="__IE11CLEANUP__">Firstly because it is autumn and the trees are now (almost) bare I can see what is behind them. This means I can include as much of the middle ground as I wish to or I can simply paint the trees in full foliage as they would be in spring and summer. Whatever I wish to do the choice is mine as I have the necessary information to make my own choice - artistic licence. The second point is light - with an overcast sky there are no strong shadows. . Without strong shadows everything is clear in the photo and not lost - again I have the choice to paint the subject however I wish and to chose my own light source which suits the composition best. I should make the point that I only use the photo as a starting point - once I have the outlines down on paper I like to put the reference material to one side and paint from imagination (colour palette, shadows, etc). Providing the general outlines are correct (position of key objects and architectural lines etc - especially important in commission work) the painting is mine and not dictated by a scene which could well be short of artistic merit.</div>

Syd Edward

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Lots of good information there . well worth a read Michael.....Syd

Alan Bickley

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Yes Michael, I agree that it is somewhat contrary to what we normally prefer, ie. get out on a sunny day with our cameras. But, I can see and do understand what you are getting at, a simple uncluttered photo to work from without any distractions from the light. It's a good point well worth keeping in mind.

Peter Davison

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Certainly agree about the attraction of being able to choose our light source, and strength, and thereby giving you the option of varying effects. If I have to use photos they are usually a starting point and, as Michael says, soon disregarded.
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Don't know about the rest of you, but I like to work from 'bad' photos - one in which the composition has already been expertly attended to is of little use to me: it prejudices any effort to interpret it. As a fairly poor photographer myself - I have an old digital camera, and until a recent operation had trouble seeing the viewfinder anyway - I have few problems taking bad photographs; and I rarely use another person's photo, unless I know them, and the area, very well - why that should make a crucial difference I don't really know, but it does. So yes - I don't want photographs in which the balance of light and shade has already been considered because I'd then tend to try to copy it, which is the last thing you want to be doing.