Composition

[Mike Dodson]

Wanted to solicite your thoughts on this photo, primarily composition. Most portraits I see the subject is located in the center of the painting or right of center. I wanted to position the subject left of center while extending his arm to the right to create a bit more balance. What about the negative space to the upper right? Should there be an object there? I was trying to avoid that and just focus on the portrait. Should I add more negative space to the left side?

I look for ward to your thoughts! Thanks!

[Mike McCarty]

Mike,

Here are some thoughts on the matter:

I'm not particularly bothered by the left of center arrangement, and the lack of some object in the upper right space is a good thing, in my opinion. I think the empty space, in it's own negative way, provides a type of balance.

What would concern me is the lack of space around the subject in general. He's beginning to look a little jammed up in upper left corner. I think you can still achieve your left of center composition while providing more overal space.

And here's a random thought ... I might consider twisting the chair a little bit more to face the viewer. Not a great deal, but just enough to reveal some interest in the design of the back and provide a little more explanation as to what it is.

I like the opened collar and would be tempted to accentuate that a bit more.

I think this could be a good portrait.

[Mike Dodson]

Mike,

Those are great suggestions. As I mentioned, I was thinking of adding more space to the left but adding more around the left, right and top of the portrait would work well. I also like your idea about the chair. I can schedule another photo shoot with no problem. I don't want this to just be a good portrait but a "great" portrait. I want to get
as much going for this one up front as I can.

Thanks for the recommendations.

[Mike Dodson]

What do you think of a darker tie for contrast?

[Mike McCarty]

You may only need to schedule another shoot with the chair.

If you do get another shot at the young man try putting his right hand on his hip in various ways to reveal a few fingers, but don't loose that overall slightly cocked posture. And just for grins you might try drapping the tie slightly out of plumb. I wonder about including the watch. I think it could go either way.

[Mike McCarty]

A simpler design would be easier to paint and would probably be just as effective. I would be tempted to try one of those knit type ties with the square bottom in navy blue ... same shirt and pants. Those type of ties seem a bit more casual than the silk type. Truth is, after it's painted you won't know the dif between silk and hemp. It's the color and contrast that will count.

[Mike Dodson]

I tried several poses with the hand but this seemed more relaxed to me and less "posed" as did the others. I really wanted the watch in there just to add a little more interest. I'll try some diffrent positioning with the tie to see what happens. Still thinking about a darker one.

Thanks.

[Tom Edgerton]

I don't know, guys, I think it pretty much swings now, if the clothing is the right pitch of informality vs. formality.

If the young man is tall and lanky, this gives me that feeling, as there isn't a lot of space above his head. It feels like he is using up all the vertical space, as tall folks do. If he's a more average stature, then I think you could open it up.

Having him somewhat close to the left edge sets up a tension between the organic curves of the body and the straight edge, balanced by the push of the arm toward the right side and down into the chair.

The colors and values in the tie blend with the background nicely now, unless he's more informal than this. Watch that a darker value tie doesn't bisect him down the middle.

I kind of like the edge-on view of the chair--it flows from the arm because it's a similar width. Look at the similar effect in this Sargent. The edge-on view of the fan is this painting's master stroke.

I don't mean to be a contrarian, but food for thought. You could apply Mike's Golden Mean diagram and see where everything falls as a sanity check.

[Mary Cupp]

I very much like the colors and the plays on grey/green and grey/blue and brown.

One thing that I notice is that you have created a very shallow space so it is important to keep in mind how the planes relate - (the chair, the figure, and the wall) so it doesn't pancake and look too flat. The shadows behind the figure are important in maintaining a sense of air and space around the figure and so is the shadow on our left side of the figure (his right). While you are painting think about, not only rendering the figure but think about the space around the figure and it should come out fine.

[John Reidy]

Mike,

It may be too late to consider but when I shoot reference photos I like to get additional shots of hands in various positions. I think you have expressed you have done that but my point is the hand on the chair. This hand can be utilized in many different forms and possibly keep the eye from slipping down the painting, giving some interest to the subject and not so much the chair.

All in all I think you have read some excellent advice, especially regarding the background. Keep it in the back.

You have a great start going for you.