Jean,

Consider that depending on the time of day you visit the church the light can be quite different. Ten AM, three PM, very different.

On your first scouting visit notice the facing direction of the windows, whether facing the morning or the evening sun. It would be good to bring someone with you so you can see how the light falls on their face. You could take some photos of your test person to help you plan your background composition.

Then you can coordinate the actual time of the photo shoot with what you know to expect.

Thanks Michele and Mike
 

Michele, my overactive brain has already composed several alternatives, and after visiting the church there may be more!

Mike, your input on photography is always appreciated, I'll do as you suggest. Can I bring my grizzled husband as my model?

Jean

One composition down
 

Hi,

I'm messing around and did a quick sketch to scale. The canvas size will be 24x36. I wish it was larger but that's what will fit on the wall. If I put everything they want in the painting, full size figures with train, including cross and candelabras, the head size of the figures will only be 2.75" long.

The sketch is drawn to a quarter inch scale (.25"=1.00"). Now I need to talk to them about alternatives. If I proceed with this idea they will have a painting of a dress, not the bride and groom. Now I wish I had done the scale drawing while they were here, but this is a workable problem. It can be solved easily if they will give up the train.

Jean

It's boring anyway.

Jean, I really hope you can talk them out of this composition. At 2.75 inches for the head sizes it will be VERY hard to get any kind of likeness. I don't think I could do it, and I wouldn't try. You're right that it will end up being just a painting of a dress (even if you crop out the train and get a slightly larger head size).

I hope you can convince them to make this truly a portrait instead of a figurative painting of a generic bride and groom. A three quarter length composition with less emphasis on the stuff around them will be far more personal and give you a much greater chance of success with the likenesses.

The smaller the head size the harder it is to get a likeness. A sixteenth-inch error on an eight inch head can be a problem. On a two or three inch head it can be a disaster.

Here's something that might work. I've moved the candles in behind them and lightened the lower end of the cross. It will be enough of a suggestion to remind them that those objects were there without being a literal "and-here's-the-cross-that-was-on-the-wall-and-here-are-the-candle-holders" kind of thing. The focus will then be on the main subjects.

Thinking ahead
 

Michele,

I don't think it will be a problem to change. I should easily be able to convince them otherwise. I want at least a 6'' head, preferably 7". I sure I can come up with a better one. I remember doing the portrait of Dean and Bear, and having to wear magnifying glasses the whole time. I don't believe in torture anymore! I'm glad I did the sketch.

Jean

Another sketch
 

I'm going to do another one starting with 6.5" heads this time and see what else will work. Why not start with the most important thing first?

Jean

Just a thought from the peanut gallery: Why not a more intimate shot of the two of them, face-to-face, as though they were saying their vows? Maybe he could be placing the ring on her finger. If he's taller, she would be looking up into his eyes. It could be nice. Or if they're like me and my wife, he could look up into her eyes. Nah!

Personally I don't like the idea of allowing the client to pick and choose from a menu of things which might be included in the composition.

A small memento sitting on a coffee table is one thing, but generally, if I can't see it in the scene with the subjects with all the local atmosphere, I don't like it.

When I think of a church I think of space and volume, distant architecture, maybe a stained glass window. But all this would be a mere suggestion and much subordinated to the subjects.

There is a trap being set for you, it is to be the all inclusive story teller, including all these symbolic items suggesting what has taken place. There won't be any question about what took place, when it took place or where it took place.

I think the answer lies back at the church, composing the scene (mostly the light) through the lens or through a home made view finder like the one Steven made with two pieces of old mat board.

The hand in the pocket just bothers me - too casual for such a formal setting. How about dropping the bouquet and having them holding hands?