Reference Photos

Commissioned artworks often involve reference photos. For example, if you are sitting for a portrait, it is very useful to take a few reference photos, so work may continue between sittings, and to ensure continuity of pose, props and lighting at each sitting. For landscapes, if there is limited time to work on-site, or the weather becomes unsuitable, reference photos can be a useful standby to avoid delays.

Some commissions are completed entirely from reference photos. Choosing the right photos will make a huge difference to the resulting artwork. This is especially true of portraiture. Many people are unsure about what makes a good portrait. Sometimes the endearing natural quirkiness of true life that looks fine in a photo will absolutely not work in an artwork. Smiling is not necessary - a placid expression often works better. Similarly, it is not necessary to be looking straight at the viewer. A contemplative expression looking beyond or away from the viewer often works well. Faces in laughter, open-mouthed, blinking, with eyes squinting through bright light at the camera, rarely work well in a portrait. Lighting straight at the face, as in passport photos, flattens features and rarely makes a flattering portrait.

Background content can make a significant difference to the cost of a portrait. Busy backgrounds tend to clutter and weaken a portrait, and they take time to paint.

I like to discuss portrait options with clients, so I know what you want, and what will work in the portrait.

For ideas about what makes a good portrait photograph to work from, visit the gallery of a professional photographer friend of mine at Autumn House Photography, or look at portrait paintings at a portrait gallery.

Image Size and Quality

Printed photos must be at least 8 inches high. Digital photos must be at least 1000 pixels high (not just scaled up to 1000). The face must occupy at least 50% of the image height. Images must be in focus. I only require colour photos if a portrait is to be in colour. For charcoal and grisaille portraits colour is useful but not essential.

I do not work from grainy snapshots and shaky photos, because there is not enough information in them from which to interpret and create high quality portraits. The only practical way to use such photos is to reduce the portrait size - my portraits are usually life-size.