Working From Photos Is Not Wrong

The Art World in general looks down on studio artists who work from photos. I mention this from time to time, because the notion that working from photos is wrong bothers me.

In order to work from my photographs, I have to find the scenes, find the best angles, light, and cropping. The photos go on the computer for editing. It takes time and thought to decide which might be worth painting and how many different photos to combine to have all the angles and details needed.

It is a rare instance when a single photo tells the whole story. This is why I loved painting “Rose” —a single photo, easy to understand textures, forgiving colors, specific shapes. Sometimes I need an easy project to rebuild confidence.

A friend took a photo while hiking. She recognized the subject and textures and light as something I might like to paint. She was right, and generously sent the picture to me.

That leaning tree had to go. Easy enough, but without it (and even with it), the photo felt unbalanced, with all the redwood trees on the left. As beautiful as the yellow ferns are on the bottom, they just didn’t quite seem balanced to me. I cropped in various ways, and chose this:

As much as I wanted to just copy the photo, I cannot. This is not “cannot” as in “I cannot tell a lie” —it is “cannot” as in I lack the ability. The background greenery is too mushy and vague while the ferns are far too many and far too detailed. I think painters are supposed to interpret the photos, using their own abilities and opinions to show something that will ALWAYS be better in person (both the actual scene and the painting).

This painting is about three main elements: the sequoia trees, the golden ferns, and of course, the light. It is 12×16″, titled “Below Panther Gap”. Or maybe “On the Way to Panther Gap”, or “Somewhere Below Panther Gap”.

So many decisions to be made. At least I have settled the decision whether or not to feel guilty about painting from photos.