Robert - Page 2

Sharon Knettell · 11-27-2002, 10:13 AM

Jean, I love good homemade bread, but be forewarned I am a tough critic!

Sincerely

Jean Kelly · 11-27-2002, 01:17 PM

You'll have no complaints on the bread. The artwork? Well that's another matter!

Jean

Sharon Knettell · 11-30-2002, 02:25 PM

Jean, I have had very good luck with the film Portra 160 NC by Kodak.

Sincerely

Jean Kelly · 12-01-2002, 03:06 PM

Hi Sharon, thanks for the suggestion. I've read about this film on other threads, possibly from you? I have a digital camera that I'm learning how to use. It's a Canon powershot a20. I finally learned how to turn the flash off, and have been quite pleased with the images. The main problem I had the day I photographed, was that I was trying to combine two things at the same time. We were just sitting and visiting when I decided it would be a good time to photograph him. I grabbed the camera and shot while he and my husband talked. No planning, no lighting consideration, just gabbing, and hoping I might get something usable.

I also have an old Pentax spotmatic 35mm. It takes beautiful photos but I don't know how to use it and don't have an instruction book. My first husband got the KitchenAid and cookbooks and I got his camera and the kids!

When I get the extra time I'll see what I can find on internet for instuctions on this camera. It's worth learning how to use.

Now, how to get the bread to you, dry ice maybe!

Jean

Sharon Knettell · 12-01-2002, 03:56 PM

Jean, I use only regular film as I can get large blowups, 30"x 40" or bigger. I use these to work from. I put them side by side of my easel, this way I can easily see my errors. You cannot blow up digital prints as yet that big, (unless you have a $20,000 camera ) without loosing sharpness, color density and getting a lot of graininess. A relatively slow film like Portra will give you great blowups.

If you post large prints next to your easel you can get back farther, this keeps your work looser. Also, you can compare your work to the print more easily. You can also look at both your work and the print in a mirror. That is a good technique to reveal errors.

Try getting a stand-in as close to Robert's skintone to pose where you want to photograph him and take a few test shots. Record your exposures.

Jean Kelly · 12-01-2002, 06:38 PM

One of my past jobs was as a mechanical draftsman in an HVAC company. I drew and designed ductwork, boiler piping and refrigeration systems. In doing this I learned how to draw to scale. Now, I use this skill to set up ratios as my method of measuring. I can get an extremely close enlarged copy simply by using geometry and ratios. Of course this does not help with color, and probably explains some of the stilted look of my work. This is why I'm trying to develop my "eye", and draw more from life.

I have to loosen up, as you said. I will try having Robert blown up as you suggested. I think he'll have some fun with that terminology! Oh, I'll try the mirror too.

Jean

Sharon Knettell · 12-01-2002, 07:31 PM

Jean, some more photo info. Use an 80mm lens or bigger for head and shoulder portraits, below the waist you can get by with a 50mm. However I like to use the longest focal length I can get away with, even for full lengths, as it reduces distortion.

Sincerely,

Jean Kelly · 12-03-2002, 12:50 AM

Well, all planning is in the works. We've chosen a location, simple, nothing in the background. Nice north light, a mirror, reflector made with aluminum foil. Robert's checking his wardrobe and won't wear white or light pinstripes. If he picks out one of his clown costumes I'll crack up. I'm going to try to borrow an 80mm lens from a friend of mine, she can also do a blow-up for me. So, I'm good to go. Now all I need to do is wait for Robert to come and grab me. I'll post when I've got pictures, if you think of anything else feel free to post! (and thanks)

Jean