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Renee Brown · 11-13-2001, 11:23 AM

Cynthia, Karin and Jim,

Your words are not falling on deaf ears. I am in my 'rethinking', 'mulling it over' and 'deciding' stages as to how I can apply your excellent advice to my work.

Above in Cynthia's post is the painting photographed in daylight (indirect sun). A little glare-back from being outside. I have the Smith-Vector lighting system Jim. I use the 500 watt photobulbs at a 90 degree angle so the light falls sideways across the painting. I only need to use one lamp since the light is so strong. I bought 250 watt bulbs to light my clients (one lamp) with a 40" umbrella for fill. Do you all use boom lights or rim lights behind the client? What else do I need to buy? I know one thing- the background in a bag from Photek. Is the 6' x 7' big enough for most sittings?

I find my HP200c (not an expensive camera) seems to pick up every color even underneath the final glazes. (Probably a good thing in most cases, right? Just not here as the cad. orange is shining through.) I am hoping the new Sony cybershot50 I just bought will do a better job.

Karin, I had printed out your learning page and I notice that you have cadmium orange on your palette. I have been using cad. orange with thalo green light, yellow ochre and titanium white to make the lights on this baby (my sweet grandson). For the shadows I used chromium oxide green, cad. red dark and a touch of alizarin crimson with tit. white to soften.

Karin, How did you get those soft ochre looking tones on your beautiful portrait? You probably are not using the cad. orange, right? It's a very strong color and I should probably reserve it for turning the planes.

Cynthia, I see you brought over my photo. Thanks. I always have trouble getting the pixels right on the tinyheads. However, I am out of my experimenting stage and am back to my usual blond again. Thanks to all for the good advice.

Renee

11-13-2001, 11:23 AM	#7
Renee Brown Associate Member FT Pro 5 yrs Joined: Jul 2001 Location: East Northport, NY Posts: 74	Cynthia, Karin and Jim, Your words are not falling on deaf ears. I am in my 'rethinking', 'mulling it over' and 'deciding' stages as to how I can apply your excellent advice to my work. Above in Cynthia's post is the painting photographed in daylight (indirect sun). A little glare-back from being outside. I have the Smith-Vector lighting system Jim. I use the 500 watt photobulbs at a 90 degree angle so the light falls sideways across the painting. I only need to use one lamp since the light is so strong. I bought 250 watt bulbs to light my clients (one lamp) with a 40" umbrella for fill. Do you all use boom lights or rim lights behind the client? What else do I need to buy? I know one thing- the background in a bag from Photek. Is the 6' x 7' big enough for most sittings? I find my HP200c (not an expensive camera) seems to pick up every color even underneath the final glazes. (Probably a good thing in most cases, right? Just not here as the cad. orange is shining through.) I am hoping the new Sony cybershot50 I just bought will do a better job. Karin, I had printed out your learning page and I notice that you have cadmium orange on your palette. I have been using cad. orange with thalo green light, yellow ochre and titanium white to make the lights on this baby (my sweet grandson). For the shadows I used chromium oxide green, cad. red dark and a touch of alizarin crimson with tit. white to soften. Karin, How did you get those soft ochre looking tones on your beautiful portrait? You probably are not using the cad. orange, right? It's a very strong color and I should probably reserve it for turning the planes. Cynthia, I see you brought over my photo. Thanks. I always have trouble getting the pixels right on the tinyheads. However, I am out of my experimenting stage and am back to my usual blond again. Thanks to all for the good advice. Renee __________________ www.ReneeBrown.com Last edited by Cynthia Daniel; 11-16-2001 at 08:16 AM.