“Painting a portrait is not just painting a picture, it is a celebration of the person.”
Long time ago I read this statement and I decided to make it my motto. When I started this blog I had in mind to explain what is involved in painting a portrait.Not only about painting techniques but also about inspiration and motivation, concentration and preparation. In another way: to explain my motto.
I am convinced that two thirds of making a portrait is in the preparation and only one third covers painting the portrait itself. Today I want to tell you about the most important part of the preparation:
The contact with the model and photography.
The last two weeks I was out on a number of portrait commissions. I went to visit people I have never met in my life met. People that expect from me to make them a nice portrait. To me that is a known and usual course of business. However for most people this is very special and they do this only once in their lives. Sometimes they are tense but always expectant. Most people are not accustomed to pose and some doubt whether they will do it right. It is my job to give the model confidence. Confidence in the good outcome, trust that he or she will be imaged favorably. People who are too modest, I might have to encourage, people with a big ego I try to temper. Noisy kids I try to calm and I try to provoke shy kids. But I need to have good eye for their unique caracter and I must not overpower this.
Photo sessions are so delicate that I always try to have an appointment the day before. A visit without cameras. In advance I will get an idea of the sitter. And what is more important, the model will get an impression of who I am. The sitter has to give me something that I can give back in the portrait. And that has everything to do with trust and harmony. I see it as my job to be a faithful reporter of these important characteristics.
See also: Portrait painting lessons (1)
Everything that Mr. Lustenhouwer wrote is true. The experience of the sitter,their comfort,their joy,should come first. Help them celebrate life. I knew the golden ratio is in all aspects of life,but i never thought it could be applied to setting up a portrait painting. As in the diagram Mr. Lustenhouwer included. 🙂
Thanks I had really longed for the post about photography. I have a few questions..
What must you do to get the correct flesh tone while taking photos?
What if the lighting is poor and ur camera is not so advanced how do you avoid using a flash?
I had this problem last weekend.
(I used nikon coolpix s9100)
Thanks for talked about photography i think it’s my main hindrance to portrait painting.
Plus I am planning to get a new camera would you recommend any of around 600$?
Thanks and sorry for the many questions.
Hi Daniel
Actually the real colour does not matter so much. It is in the whole light/dark ratio that acceptable flesh colour emerges. Anyhow try this.
Place a piece of pure white paper next to the face and make sure it appears in the photograph. Now in photoshop go for instance to correction with curves and place the dropper tool on the white piece of paper. The image will now correct itself to the right white balance. That means the paper is not too red, yellow or blue, but neutral grey.
Hope you understand my explanation.