The Pitfalls of Painting from a Photograph

Studying the Impressionists, Louvre
Oil on Linen   16 x 20"
Gallerie Amsterdam

The Pitfalls of PAINTING FROM A PHOTOGRAPH
(and how to avoid them)

By Randy Blasquez

Recently in class we had a quick lesson on the differences between painting from life and using a photograph as a reference tool. This is something that you don't want to learn the hard way. And believe me if you don't use care, people can tell you painted from a photo. 

Read through the notes below and let me know your thoughts and perhaps your own experiences with using photographs to paint from. 

The Pitfalls -

Shadows are too dark

Lights are washed out

Photo is distorted

Everything is in focus because a camera does not see like the human eye

It’s very tempting to copy a photo and then your painting will look like a photo

A photo doesn’t see correct color and temperature (this is why we paint plein air studies)

How to make it work -

Sketch a personal design using a notan

Create a beautiful of dark and light pattern that is your own

Remember the reason you took the photo and what inspired you (why it’s best to paint from your own photos)

Try turning the photograph and paint it upside down

Crop your photo to correct the format

Bring light into those shadows, but remember to keep the shadows and light separate

Use color in your shadows

Take notes or use a sketchbook as an additional reference

Remember the rules of creating depth and distance (value, edges, temp, chroma) that the camera doesn’t see

Use care when using multiple photographs to create your composition

Exaggerate when necessary

Some savvy advice from Robert Genn

Manhattan Bistro
Oil on Linen  12x12" 

Another good blogpost from Robert. I can truly relate to this one as I have been taking more time to paint even small paintings. That's because I am layering with glazes. I do have to put my heart into it and I guess that's good. The challenge is like Robert says, to paint it slow and keep it fresh.....

http://www.robertgenn.com/

Slow down to speed up

August 3, 2012

Dear Randy,

It's warm and muggy beside this froggy pond. I'm the shiny guy wearing the Deep Forest Off. Nearby, an Oregon towhee rummages in the undergrowth. In the distance, a barred owl is being harassed by resident robins. With no immediate obligations and practically no guilt, I'm moving slower than a spotted slug.

After years of jumping directly into painting, these days I've been casually drawing things out with a soft pencil. Also, trying to please myself, I'm judiciously glazing work in progress with red oxide--a colour I've previously found unpleasant.

Funnily, Irene Feeney of Roscommon, Ireland, just wrote, "I'm one who struggles to be pleased. I'm also speedy; I complete a painting in a day where another person might take weeks. It may be that my attention to detail is not so accurate, but I like to work fast. I find it hard to work at one section; I look at the whole painting as I work. Maybe this is something I need to harness. Do you think this may be my downfall?"

Thanks, Irene. I'm not going to comment on your downfall, but I do have a few thoughts on fast and slow. The virtue of a painting may not be accuracy, but feeling. Further, taking your time to feel what you're painting is more important than speedy delivery. In both feeling and execution, some folks are naturally faster than others. That you have identified yourself as one of the speedy is just great.

Speedy painters tend to do fresher work than pokey ones. On the other hand, they are also responsible for a lot of the messy stuff you see out there. Just for the sake of change, you might try forcibly slowing down. It's the "extra time" concept. It has something to do with gently living in the present and focusing on the potential of the work at hand. It can be done at the edge of a froggy pond or in a studio sanctuary. One needs to become aware of the relative time between stroking and contemplating. "Look three times, think twice, paint once," is a time-honoured shibboleth. Here's the ploy: Make a work of art that looks like it was done freshly and quickly--but take a long time to do it. 

Best regards,

Robert