|
|
|
Take a photograph ? |
|
|
Taking a photograph to use as the basis for an oil painting can seem like a straightforward
task. However many decisions have to be made concerning every aspect of the image. Normally, when in the process
of making a painting, decisions can be made and unmade throughout, but when using a photograph to base the work on ,
all these decisions are made when the shutter is pressed.
A photograph can be either a 'considered' photograph or just a 'snapshot'. In fact both approaches can
yield images with appealing qualities. But as is the general rule with photography, many shots have to be taken
in order to get just one usable picture.
So, which photograph ?, it is neccessary to analyse in more detail precisely the type of photograph that
would be suitable as an image with which to work from.
This is typically what it contains in terms of subject matter, its brightness range, the colours involved,
the point of focus and the extent of the depth of field etc. These elements provide the foundation of the
painting and if selected wisely can ensure success.
|
|
What can a photograph give that is unique ? |
|
|
There are many artifacts of the photographic image which are unique to it. For example, depth of field,
lens effects such as flare or perspective distortion, a compressed tonal range compared with how we see the
scene with the eye, sharpness is not consistent across the image and also depends on contrast, colours can
seem artificial and have a narrower gamut compared with how we see naturally. These things can be used
positively to add to the effect of the finished painting. It is as important to choose an image which exhibits
these artifacts in a beneficial way as it is to provide good foundation elements. Choosing wisely can improve
the effect of the finished painting.
|
|
Start painting ? |
|
|
With most of the decisions regarding the appearance of the final image already made,
the source photograph needs to be assessed in an objective way and to be seen as a huge matrix
of colours and tonal values. If it were digitised, this is exactly what it would be, and even as a
colour print or transparency the grain structure is still essentially a looser matrix of elements
which have a colour and tonal value.
|
|
How to best use the photograph ? |
|
|
On achieving this objective view and seeing the photograph in this way, it is then possible to move back towards
seeing the elements within the photograph as objects again. In doing this it is possible to be able to
control the way in which the working photograph is viewed in order to be able to 'switch' in and out of these two
different ways of seeing. This is required because during the painting process, in the interests of expediency
it is useful to treat areas within the composition as 'objects'. This is purely for practical reasons as it is
important to match colours and families of colours across 'objects' that may extend across the composition.
|
|
Making an enlargement ? |
|
|
The process of making a painting based on a photograph is essentially making an enlargement of an original photograph.
As this is not a mechanical process the results are more likely to be varied. Interpretation will play a part
and can be a vital component of the finished piece.
|
|
|
Some Good Books |
|
~ |
Formulas For Painters By Robert Massey ISBN 0-8230-1876-8 |
|
~ |
The Painters Methods and Materials By A P Laurie Dover, N.Y. 1960 |
|
~ |
Materials of the Artist By Max Doerner Harcourt, Brace & World, N.Y. 1949 |
|
~ |
The Artists Handbook of Materials and Techniques By Ralph Mayer, Viking Press, N.Y. 1957 |
|
