Why commission a portrait?
A portrait is a fantastic way to encapsulate someone, be it a partner, a family member or a beloved family pet. I am sometimes asked why, in this day and age, someone would have a traditional oil portrait done when photography is widespread and of high quality. The answer I give is that oil paintings are entirely unique in their qualities.
It is simultaneously a one-of-a-kind artwork and a visual record of that person, alongside being a thoughtful, original gift and one that becomes a permanent fixture in the home. It is something that is treasured rather than updated
Stage 1
First thing to do is to get in touch via info@asmorrigan.com. Let me know what you would like to have painted and approximately what size you would like the painting to be. Please have the photograph ready to send. There is no obligation for an enquiry.
Stage 2
I will then be in contact with you to receive the photograph and discuss details of the painting. After both parties have agreed on how to proceed I will ask for a 50% deposit to begin work. I will keep you updated on progress.
Stage 3
When the commission is complete I will send you a photograph. At this point you can suggest any amendments you would like me to make and I will make them. I offer this for free but any further amendments may incur extra fees.
I can produce a painting to any size required. Prices are subject to complexity and labour time.
Please get in contact with me at: info@asmorrigan.com to discuss bespoke sizes and receive a free, no hidden costs, no obligation quote.
Lighting a Photograph for Portrait Painting
Lighting is one of the most fundamental aspects of portrait painting. The correct look can help create atmosphere - whether it be friendly, sombre, dramatic or imposing - and, very importantly, the shadows generated can add depth to the painting.
With that in mind, I wanted to write a brief overview of how to go about lighting a subject if you are sending me a photograph for painting.
What lights to use?
The first thing to consider is the type of light you’ll be using. You’ll want to use something that you can easily move around. If you want to achieve a warmer, softer look then try using a bedside lamp. If you want to achieve a harsh, dramatic look then try something that concentrates the light in to a beam, such as a torch.
How many lights to use and how to go about positioning them:
One light
Using one light for your subject can give you a very dramatic look. The most important thing to get right with this set up is the angle and distance of the light from the subject. It’s recommended to start by placing the light approximately 2 feet above eye level and at a 45 degree angle from the front of the sitters face.
If you place the light too close to the subject, you will create very dark shadows and very light highlights. Some features of the face may be obscured by shadow and skin tones may be washed out (especially in photographs). If you place it further away, the overall effect will be less harsh and the edges of the shadows will be softened.
It is certainly dramatic and can work wonders to create an atmosphere with the right subject but can be unflattering to the sitter.
Rembrandt Lighting
One of the most common lighting techniques for portraiture has been nicknamed ‘Rembrandt Lighting’. At it’s most basic, this technique is very much like the one light approach outlined above. One half of the face is fully lit by a primary light whilst the other half is left in partial shadow with a distinct illuminated triangle under the eye on the shadowed side.
To achieve this effect, simply set up as in the one light approach and move either the light source or tilt the sitters face until a small triangle of light is visible underneath the eye on the shadow side of the face (see image).
Two lights
If you’d like to get a more flattering image then you should opt for two lights - a primary light and a secondary light, with the secondary light being half as powerful and placed further away than the primary light. Try placing the primary light in a fixed position just above and approximately 45 degrees from the front of the subject’s face. You can then work with the secondary light in different positions to get the right result (start from 45 degrees and adjust as needed). What you’re attempting to do is ‘fill in’ the areas that aren’t lit by the primary light, ensuring that the shadows are still visible but have been softened somewhat.
You can also achieve a similar but less intense two light effect by reflecting the light of the primary source back onto the shadow side of the face. Professional photographers use specially made reflectors but you can achieve great results with a mirror or even kitchen foil.
Three lights
Three lights is the industry standard for professional photographers