This is, I think your best so far, beautiful saturated color and exquisite lighting. I applaud your bold use of a rougher canvas, something I am considering myself. Titian as he got older used increasingly more textured canvasses.
Allan, try these suggestions for getting a better photograph of your painting.
Use a polarizing filter, if you are not using one now. Put balck velvet to the bottom of the painting to reduce glare. Also, try reducing the glare with side panels of black velvet as well. That is a little trickier as you want to ensure having enough light to shoot.
SOG Member FT Professional '04 Merit Award PSA '04 Best Portfolio PSA '03 Honors Artists Magazine '01 Second Prize ASOPA Perm. Collection- Ntl. Portrait Gallery Perm. Collection- Met Leads Workshops
Joined: May 2002
Location: Great Neck, NY
Posts: 1,093
I agree with Sharon, by far your best. The cohesiveness of the modeling is much stronger than any I've see so far. Well done..
On a side note, if you buy a polarizing filter, make sure it has a circular pattern.
I just have to join in and say how wonderful this painting is. It's very "Anders Zorn" in lighting and mood, and beautifully painted. I especially like how you've let the canvas help to create those blonde highlights.
You really cannot shoot a painting, especially a coarse grained one without a polarizing lens as far as I know. I had mine originally shot by a professional with the new Nikon-Kodak 14000 pixel camera, no polarizer, result lots of grain and glare, great color. He thought it would work. Make sure your new Nikon takes a polarizer.
I re-shot my billboard (55"x 70") of a painting in my studio, facing large picture windows. Shooting outside in the shade would be the same. I tilted my painting down a bit as well. But what made the difference, besides the polarizing lens was the black velvet reducing any bounced light.
You can get bounce off cement, grass or even shiny asphalt.
My light beige studio rug was bouncing back glare.
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