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Monday, September 15, 2014

More Photo Play and Some Decisions

Sunday Times, photograph left light for the printer, which prints
two tones darker than what I see on my monitor.  Ellis loves
the New York Sunday Times. I'm not allow to talk to him while
he's reading.  Photographing him is okay.  This photo would be
suitable for a 24 x 24" canvas I have sitting waiting some paint.
That's smaller than Todd suggests, but I own it and do have
small brushes.

I had enough photography this last week to last me for months to come. I thoroughly understand the capabilities of my camera and can adjust the depth of field and shutter speed by choosing the right little picture, as well as bracket the exposure via this little button with odd markings on it   on the side that I always wondered what it did. I'm still slow at  making adjustments, but the design of digital cameras does slow up that process. What's with those little pictures anyway? I am an adult. We could use the terms that have been used for decades?  But then what do I understand about new and improved?

 Anyway, unable to put my camera aside, I spent a lot of time annoying Ellis as he read the Sunday New York Times. I wanted to catch someone else doing something they liked with the joy showing on their face; he was the only guy around sitting still. I have no idea if either of these photos is good enough for the Venetian Technique class, but I like both and think I will be able to put in the time a highly realistic rendering demands on either one of them or both?  One in class. One in studio. My intense interest in the photographic connection to this painting process suggests the tedious, very realistic  process is a necessary step to take finding my way home. I think finding your artist voice requires following your curiosity.  When you are no longer curious. your either where you want to be forever, or dead? I might never find my voice; the hunt is too interesting.

Of all the photos I took, I like that very first one. the watch face is visible.
The contrast is good. Every sunspot and hair on my nose is visible. The background will all be darkened out. This
painting I do in class and only in class. I'm a lazy bum when it comes
to moving supplies from house to trunk, from trunk to class, from class to trunk, from trunk to studio.
It can sit there.  I'll work out the Venetian Technique on Ellis in between classes in the stocked studio.


  1. I like everything about the picture, from the light to the way you just sit there. I think digital cameras "see" more than the human eye does -- a blessing and a curse at the same time.

    1. Well, this project did get me to do what I should have done when I first got the camera. That's a good thing. I liked this photo too, but I went with the profile portrait. That's the one the instructor thought was worth the effort. I really don't care which one. A portrait, any portrait, will keep me interested the amount of time, this technique demands. A self portrait eliminates me having to please anyone besides myself--and I don't have to be that pleased. --I might just take a digital photography class to get the basics. It might be spinning my wheel, but whose wheels can I sipin besides my own? --From the other photos I saw, mine are pretty good for a novice working intuitively. The Spider was recommended for balancing color between devices. I'll check it out.

  2. U achieved the lighting in both.. As far as which one is 'better'.. its a personal choice... Personally, I like the one of you because of the background (your painting), also u wearing white gives the picture more contrast.. You stand out.. and the focal pt. of your watch, and bit of color at the lower right corner.. love the softness effect.

    1. I'm doing the profile pose for class and Ellis on my own. I can lighten him up--even change the color of his jacket. Lights are light and darks are dark; white is no different than black. I do like the photographic connection to this painting style, plus so does a majority of the public who would be interested in having a portrait done of themselves or a loved one.

  3. Definitely stay curious, and keep on hunting!

    1. I'm about done. What I never liked about being an artist is my expressionistic leanings. Expressionistic art does't cover the costs of the sport. It's something to do whenever I need to vent whatever. Photographic realism is a possible money maker. I like being able to do both I do have several artistic voices. While that used to annoy me, now I'm thinking use those abilities. --there's a gal in class doing a horse's head. She doesn't have your drawing or painting talent.

  4. So have you started yet?! So curious!! Great photos in the last few posts, a lot of good choices!

    1. Today. Went over all the photos with the instructor and he selected my profile--it had the highest contrast. Then I spent the rest of the time dividing the photo into a grid to match the grid for the canvas. I did get as far as beginning the contour drawing. This technique is a slow procedure with lots of required drying time. After I get this to the GRISAILLE stage, I might start another smaller one. I did like the photo of Ellis reading his beloved Sunday New York Times. The contrast is lower due to his black warm up jacket, but it doesn't have to be black.

      I noticed today that there are people in the class working on paintings they started in previous classes. the Venetian Technique is a slow and deliberate technique. There's only one other person and me just starting a painting. I do not intend to take the winter class. Maybe the Spring, if I don't get all I need out of it?