Painting Photos Lesson Four

Painting Photos

Lesson Four

More than ever, an enormous range of materials is available for photo manipulation and enhancement. For the photo artist, a photograph becomes a canvas with just a few strokes of the mouse; the choices seem limitless. Moving beyond the basics of Photoshop and into the artist world sets the stage for an in-depth exploration of artist materials and new realms of creative expression. As the boundaries of photography and painting blur and blend together, “painting photos” truly becomes an artistic means for revealing a personal message. Personal style develops over time and some photographers may have a few visual voices, but for the most part, personal style evolves from how you communicate best.

Originally, a black and white negative, this image was captured from a second story classroom. Through a lace curtain to obscure the details, I used the window as a structural element and as a metaphor. To further enhance the sense of time standing still while the past and present whirl around us, I printed the image on Marshall’s inkjet canvas paper and added oil paints.

Painting with a Digital Brush Step-by-Step: Coley in Luau Costume

1. This photograph was originally a gelatin-silver print that I scanned to a 38MB tiff. With an adjustment layer, I retouched with the healing brush. A dark background is a magnet for dust; spotting is necessary with a black background. Once the spotting is complete I flatten the layers and begin to apply adjustment layers for Levels, Curves, and Brightness/Contrast and fine-tune the tonal values of the image.

2. I save this file, flatten and I then begin coloring. I adjust the colors as an adjustment layer, first working with Color Balance. The goal is for a pink flesh tone. In this instance I used the Color Balance at 53-percent opacity as follows:

Color Balance: Midtones: Red + 41% Highlights: Red + 31% Shadows : Red + 16, Green+ 54, Blue +21

3. A second adjustment layer of Color Balance is necessary to adjust the background. I experiment again and find the following mix:

Midtones: Red + 23 Magenta -7 Highlights: Yellow -23 Shadows: Green +41

Notice how the background turns green and the tree trunk the desired brown. Experiment by moving the sliders and when the image looks right, click “Ok.”

4. I then use the Channel Mixer to pump up the color, intensifying the green background and the pink flesh tone. I created a layer adjustment, labeling it “Channel mixer.”

Green Channel: Blue Channel: Red -2% Red -6% Green + 100% Green -4% Blue -6% Blue +100% Constant +4 Constant 0

5. Once satisfied with the base tones, I proceed to colorize the photograph. Most of my layers were blended in the Color blending mode at 25- 50 - cpercent opacity. I choose the brush size that best fits the specific area. I try to cover the area with few strokes, controlling the color by tweaking the opacity. I begin to work on details, slowly building color in washes. I select a color by using the color palette and the Eye Dropper tool. The intensity of the colors is controlled by the opacity.

6. Each color is added in a separate layer. For example, the lei is painted on a separate adjustment layer as is the bathing suit. I clearly label each layer for later editing. I create a new adjustment layer, “Hair,” and select opacity of 25 percent-I find this is a good starting point for creating a light wash of color. I then find a paintbrush size to cover the

hair without going over onto the skin tones. Once the picture is complete, I save the file one more time a PSD (Photoshop document) file. If I want to go back at a later date and adjust a layer, I can. I flatten all layers, save the image as a TIFF file, and proceed to printing.

As a final step, I would print this image on a fine art paper. I would test various inkjet textured papers and also watercolor surfaces to find the best match.

Painting a Portrait There’s an orderly and systematic approach to painting a portrait. Following this logical approach minimizes confusion and increases your chances of success. The basis of this process is that you paint the most important elements of the image first, and the most important element of a portrait is the subject. You apply the subject’s flesh tone first, followed by the hair and facial

details. Background colors follow in the sequence, and clothing is one of the last things painted in order to create color harmony with all the previously painted elements. Together, all these visual components serve to highlight the subject.

This picture, originally a black and white photograph, was tinted using the steps outlined above.

Once you’re satisfied with the subject’s skin tone, hair, and facial features, you can move away from the subject to the top of the photograph, and work methodically downward. Painting from top to bottom protects against accidental smearing of any previously applied paints; instead of starting at the bottom of the image and then leaning over (and possibly smudging) those painted sections as you move toward the top, start at the top and work your way down. As a protective barrier, place a sheet of white paper onto the areas on which your hand rests.

The nature of light also supports the notion of working from top to bottom, and light is an integral factor in a photo-painter’s work. Make a formal determination of the lighting conditions in your photograph at the outset of the painting process. For example, at what time of day was the photograph taken and what were the weather conditions? Each color that you apply should agree with those conditions. A fall day at dusk evokes a different color scheme than that of a summer morning. The hue and intensity of the sky affects all the hues and their intensity throughout the picture.

Handpainting a digitized inkjet print using the photograph as a sketch Create an Inkjet Print Select a black and white image or a color photograph. Experiment with different saturation (density) and make two copies. Having a second copy takes the pressure off; if you goof, you already have another picture to work with.

Choosing the Right Colors Color is one of the most prominent and expressive components in art. Drawing on memory, personal preference, and symbolic representation, the photo painter strategically manipulates color to navigate a photographic landscape and communicate with the viewer. By employing principles of color theory, visual unity is achieved. Your interpretations of an environment are an integral part of the rendering. Your feelings are revealed through the emotional and psychological qualities of color.

Focusing On the Environment In celebrating nature and your environment, we’re often tempted to use too much color. Strive, and struggle, for simplicity in order to make the most of your landscapes. Many times, an uncomplicated color strategy works best. One helpful method of working is to choose a dominant color that suits the mood you’re trying to portray. Pay attention to the lighting in the scene and to the overall ambience. Creative digital imaging affords you the freedom to look at the world and create visual statements using the abstract nature of light, color, pattern, and design. Good photographic composition is critical to convey those statements. Work with the elements of design, lines, textures, and placement that appear naturally in the environment. Accentuate any eye-catching components in your surroundings by taking the time to previsualize and arrange the image in your viewfinder.

The overall game plan for colorizing a landscape photograph is to start painting at the top of the image and work systematically downward. Remember, the rationale here is: 1) to follow the direction of the light, which comes from above and has a significant effect on all the colors. Revealing the logic within the seemingly spontaneous beauty of the natural world requires forethought, discipline, and skillful execution. However, there’s plenty of room for creative license, especially with color. So, beginning with the sky at the top of a photograph, you would follow the illumination down to the earth, all the while developing a color strategy.

The time of day sets the tone of a photograph. A blue midday sky, a pink sunset, and a gray blanket of twilight all produce distinct spectral effects in the environment. Incorporate these effects into your color selections to make visual sense of the landscape. A blue sky on a clear day casts a bluish tint throughout the environment; a sunset casts a warm glow and a dusky gray dulls atmospheric hues. Additionally, there is the element of blue in all shadows to consider.

Clear days don’t necessarily make for the most dramatic illumination in a photograph. Overcast days, however, provide a wonderful, even light for handpainting and create unusually evocative moods.

Photography flattens perspective, condensing areas that are far away. The landscape photographer follows the logic of the environment, keeping this two-dimensional quality to a minimum. Taking distance into account, paint elements that are farther away with subtle hues. As the elements of a landscape move toward the foreground (and the viewer), choose more pronounced colors.

Composition Without a person as the subject, a landscape image relies on careful composition for success. To create a successful photo painting, the photograph must be worthy of the paint. Good composition is what made “Spring” (below) a compelling image for me to handpaint. The

budding cherry tree shapes the picture frame, embodying springtime in New York City. The graphic contour of the distant shadows and the winding picket fence strengthen the composition. Though the image celebrates nature, I limited my color palette to green, blue, violet, and brown.

“Spring” This image was printed on Canson Montval Watercolor paper 140 lb. This textured surface absorbed the ink, so I added color with Conte paste pencils. I used a Dusting technique to color the cherry blossoms. To dust: take a pastel stick on its side and slowly (and gently) shave the edge with a razor (exacto knife). Flecks of color will fall onto the paper surface. Press firmly with your finger to adhere to certain areas. Use a bristle brush to remove unwanted color and repeat, as necessary.

Paying Attention to Pattern Interesting patterns occur spontaneously in nature. It is your task to see these relationships and capture them in your photographs in new and unexpected ways. Patterns are decorative design elements that help structure the photograph. Lines, shapes, values, texture, and color all can create patterns, and patterns, in turn, create visual unity and harmony. They make sense and impose order in an image.

It can be a challenge, at first, to break down the world in your mind so that you see your environment simply in terms of its repetitive shapes. Composing your images to highlight the patterns in cobalt blue skyscraper windows, lines of olive green weeping willow trees, crimson- orange leaves reflected on a pond, or fields of purple dwarf lilies bending in the wind requires a combination of insight, foresight, strategic lighting, selective viewpoint, and color sense.

Painting is often compared to music, and it may be helpful to keep this in mind. The notes that form a melody are similar to the elements that make up a visual pattern. Both are repetitive structural components that add rhythm and design to a composition, be it a musical or visual one. In this sense then, the function of patterns in a photopainting is to create movement and direction in a rhythmic manner across the otherwise static picture area. Patterns can be subtle or obvious, exact duplications of each other or only approximate likenesses.

You can focus on the specific, for example cropping in tightly on a tree to reveal the patterns and textures of its leaves, or concentrate on the lines of a wider vista, such as an entire orchard of blossoming apples. Strategic color selection further enhances the patterns of nature. Where the viewer’s eye pauses and focuses is manipulated by color. And, as in musical compositions, you can use bold color accents (fortissimo) or soft muted hues (pianissimo).

In general, avoid the obvious. Unearth the natural rhythms of the scene by depicting comparisons and showing contrasts, such as old versus new. Graffiti, windows, doors, and clotheslines can all

embellish your photographs. Experiment with viewpoint and consider trees, archways, and even heavy machinery when framing your image. Concentrate on lighting to add texture to an otherwise monotonous mass. Work with value and let shadows define the space. Find graphic patterns that exist naturally in architecture. Explore the drama of a silhouette or blurred motion. If the photograph works, you’ll hear the roar of traffic, feel the wealth, empathize with the impoverished, sense the history, and experience the beauty.

Working with Pastels Pastel painting is a wonderful art form. The luminous qualities and abilities to layer and blend are exceptional. Layers of pastel are applied until I find just the right tone. Under layers show through creating beautiful nuances of color. The choice of color, hue, and saturation affect the visual harmony. Pastel is an Italian word for pasta or paste. Dry pigments are grounded into a powder and then mixed with a liquid (water and glue) to form a paste. This dough is then rolled into sticks or squares and left to dry.

Pastels are grouped according to their hardness or softness (hard, medium soft, soft); these characteristics are the most important in terms of defining your work. The amount of glue and the nature of the pigment determine the degree of hardness. Like all pastels, soft pastels are water-soluble. As the term indicates, soft pastels are soft in texture (some crumble all too easily), and smear fluidly, and are known for their strong vibrant colors. Soft pastels cover large areas easily. Hard Pastels are slightly harder and are terrific for rendering fine detail. Layers of color can be slowly created and the original paper color will remain visible. Hard pastels are preferable for drawing and sketching in detail. They can be used with soft pastels, and are even useful as a blending tool. Hard pastels can be easily sharpened. Experiment with pastels in each group to discover which type you prefer. Keep in mind that pastels respond to paper surface; be certain to test different papers.

Pastel Paper Pastel paper is available in many colors and yet I recommend working with watercolor paper instead. Watercolor paper is stronger and can handle the necessary and continuous rubbing, pushing, and erasing. Watercolor paper can also easily handle water enabling the artist to use mixed media. You are only limited by your own imagination. Try using your inkjet print as a sketch and an under painting. Consider using a lighter print version or even a desaturated version of the original, thereby the colors that are printed become your under painting. I find this particularly helpful when working with flesh tone. If I am working from a color original, I’ll use the color already captured, rather than try to create a new flesh tone.

Artist’s Paper Creative digital printmaking and fine art paper go hand-in-hand. In fact, printing a digital image on fine art paper with a deckled edge automatically elevates the image into the artist’s realm. Essentially, any paper can be used for your painted photograph, although colored paper will bias the ink colors and therefore alter the final print.

Finding the paper that accomplishes your vision is a time consuming and expensive task. Trial and error is your best strategy. Printers recommend papers and settings, but I have found that these are just starting points. I have spent days testing paper on two different printers. I have also researched what other photographers recommend and I still feel strongly that you must experiment for yourself.

Inkjet coated paper is now available in many artsy surfaces, from rag to canvas. The sharp detail advantage of inkjet coated papers may persuade you to choose this paper style, however if you are planning to use the inkjet image as a sketch, upon which you will be adding color with paints and pastels, then you should definitely consider the fine art papers which are not coated. Traditional artist’s papers will withstand pencil pressure and erasing. To find out just how much pencil and erasing a favorite inkjet paper will withstand, you’ll have to test it.

Go ahead and explore the world of paper. Visit a paper goods or art supply Go ahead and explore the world of paper. Visit a paper goods or art supply store, and you’ll find a candy-store worth of colors, textures, and design. You can also find papers online, although you’ll miss the tactile experience. Some of the manufacturers offer sampler packages, which is an economical way to explore and test papers.

To best understand the multitude of paper choices, let’s take a look at paper terminology:

Paper Terminology Acid Free: Papers containing no acid or neutral acid. Archival: Ability of the paper to remain stable (color, shape) over time. Baryta: Barium Sulfate use for archival permanence. Has a traditional darkroom paper look and feel. Brightness: A measurement of diffused light reflectance. The higher the number, the brighter the paper. Caliper Thickness: Linear measure expressed in mils (1000.inch) or microns. Usually the thicker the paper, the more expensive. Cold Pressed: A paper surface with a slight texture. Cotton Fiber Paper: Cotton fiber, one of the most durable natural fibers, will hold up best to repeated handling and manipulations. Deckled Edge: A feathery edge, which is created by a natural run off when making handmade paper, or the results of which sheets are torn when wet. GSM: Grams per square meter. A measure of weight. Lightfast: Ability of the paper to resist fading from light exposure. Matte: Paper is very smooth and features a non-reflective surface. Mil: Measure of thickness in thousands of an inch or cliper. Opacity: The potential to see through the medium 0% = transparent, 100% = opaque.

PH: Value rating the acidity; the numbers run from 0-14. Papers with a PH of 6.5 – 7. 5 are considered neutral. Papers under 5 are considered highly acidic, those over 7 have increased alkalinity with 14 being the most alkaline. Pigment Inks: Tiny inkjet particles suspended in solution. Ply: A single layer of paper. The higher the ply number, the thicker and stronger the paper. Usually the cost rises as the ply increases. Rag: A term used interchangeably with “cotton fiber content.” Rag refers back to the day when paper was actually made from rags. Today, most paper is not made from rags, and a more common term is “cotton fiber content.” Size: A transparent fluid (a starch) used to coat the paper; prevents paint from spreading. All cotton fiber paper is sized at some point. Size seals the fibers and helps control the degree of ink penetration. It also contributes to the crisp unique texture of cotton fiber papers. Watermark: The translucent design or name easily visible when a sheet of paper is held up to light. Weight: Mass per unit; grams/square meter. Usually, the heavier the paper, the more costly.

Artist’s papers are designed for paint and pencils. Even though you can expect softer (not pinpoint sharp) images, you can enhance the details with art materials. You can also expect lower color saturation because the inks absorb into the papers. Many artists’ papers have a front side, which is usually the smoother, harder side of the paper. To determine the front side of the paper, hold the sheet up to the light and find the watermark (the name embedded in the paper). The side of the paper where you can read this accurately is the side you should use for your image.

A terrific advantage to using art paper sold in single sheets is the torn or deckled edge and the watermark. These tactile details automatically transform the image into a work of art. ]There are many different types of artist’s paper. I have found that watercolor papers work better than pastel papers. Watercolor paper is available in three different surfaces: cold pressed (CP), hot pressed 17

(HP), and rough and are available in either warm white and bright white. They also are manufactured in different weights such as 90 lb. and 140 lb. Generally, the higher the weight, the more expensive the paper. Hot press has a smoother surface than cold press. Artist paper is also rated according to its color base. There are bright white papers, white, and natural (or a creamy beige color). Non-white papers will bias the colors of the ink and your final image will not look like those on your computer monitor.

Ink Jet Papers There are also many wonderful Inkjet Digital Printing Paper choices for the digital artist. These are the brands that offer paper worth investigating. • Epson • Hahnemühle • Moab • Cason Infinity • Museo • Ilford • Breathing Color • Canon

Most brands offer sample packs which include two samples of each paper; this is an economical way to experiment. I have created a paper-shopping list that you can access here. http://www.cherylmachatdorskind.com/blog/inkjet-paper-for-photo-artists

This link is password protected like the supply list I had created earlier. The password is “paper123”.

In Lesson One we learned about Giclees. There are two main components in creating an archival (a picture that will last a long period of time) images: the paper and the ink. While you can 18

experiment with color and paper, to ensure permanence, you’ll also need a printer that uses archival ink. When I first began my professional career as a photographer, I was concerned with the archival qualities of color photographs. Being unstable and known to fade with time, I was not comfortable offering my art as a color photograph. This was a blessing, because it spurred my quest for an alternative, which led me to handpainting. I discovered that printing on fiber darkroom enlargement paper and processing it according to archival standards (extended wash time and added solutions); I was comfortable selling my work as heirlooms meant to last a lifetime.

This philosophy applies to painting digital photographs with one caveat, the archival standards are quantifiable and the life spans have increased. Some manufacturers claim light fastness of over 130 years. Don’t scrimp on your ink supply; use name brands and make sure they specify archival pigment inks.

Colored Pencils Quality colored pencils are an excellent medium to use when handpainting photographs. Reputable brands include Berol Prismacolor, Derwent, and Marshall’s among others. Colored pencils are available in a multitude of colors. You can use them alone or in conjunction with other media, and they’re perfect for rendering areas of fine detail, such as eyes, lips, foliage, and clothing.

The visual impact of colored pencils is often heightened when layered, and they’re particularly useful for building highlights and shadow details. You can also use them in large areas and can even color an entire photograph with pencils only. You can purchase artist-quality colored pencils individually or in kits at art supply stores and through catalogues. Test different brands and purchase a few to see which ones perform best. One testing trick is to turn a sharpened pencil on its side and press down with the side of the pointed edge to see if you can spread or feathered the color. Pencils that spread readily are most desirable because they can be easily

applied to a photograph, and the soft lead enables good blending. Note that you’ll also need a pencil sharpener to maintain fine points on your colored pencils.

Working with Pastels and Colored Pencils Pastels generally work best when you hold them between the tips of your thumb and the first two fingers. Rather than holding them upright turn them and use on their sides. To achieve a fine point with a pastel stick, sharpen the end with a sharp knife or a sheet of sandpaper. Many artists break the pastel sticks in half so they can better manipulate their edges.

Techniques for applying pastels and color pencils include: overlaying, feathering, hatching, cross-hatching, scribbling and stippling. Your photo editing software probably includes these (artistic blending modes), and you’ll find that once you work with pastel and color pencils, these blending modes will take on a profounder meaning.

Blending Generally speaking, it’s best to retain the tactile qualities of pastels. For large areas, blend using a rag or tissue, or a large wispy brush. Blend selectively with your finger, a rag or torchons and paper stumps. Blending with fingers or stumps presses the pastel into the paper and produces a denser result, while blending with tissues will remove color.

Apply dark colors first. To cover a large area of sheer color, begin with large strokes and blend. If you would like to apply more than one color, change the color of the strokes from one section to another and layer them or weave them together. Try blending in a circular motion. The right touch takes time. If you blend with a heavy hand, you’ll remove too much color, if you are too light, the colors will look blotchy. Consider practicing on test prints before you approach your Giclees.

Erasing Pastels and Colored Pencils

Use a stiff bristle paintbrush to fleck away excess pastel or colored pencils powdery color. A kneaded eraser helps lighten areas. Pull away a small section of the eraser and knead it into a useful shape with your fingers. Press the eraser onto the area, and lift off the color in a blotting manner. Continue until the color has lifted. Some paper surfaces will tolerate erasing (like you would with a pencil). Test the paper first.

Workable Fixative Working with pastels is messy and there are health concerns. The thin airborne powder stains and can pollute the air. To counter this, work in a well-ventilated room and cover the carpeted floor (or nearby upholstery), it’s wise to apply a layer of fixative. “Workable” fixative allows work to continue once the spray dries. This spray treatment allows you to continue working and helps prevent smearing.

Hold the paper upright and shake loose pigment. Shake can, hold 18” from the paper surface and move it in slow regular back and forth pattern over the entire picture. Be careful to maintain movement with the spray to avoid blotching and staining.

Fixing (Non Workable) There are two schools of thought about fixing. Some artists use a final fixative to set the color, to lock it in. Others avoid this step because they feel that the spray dulls the characteristic brilliant colors of pastels and colored pencils. There is an alternative: Lift the paper and jiggle to remove loose particles. Then, lay a sheet of smooth paper over the picture and press. The pressure will fix the pastel and pencil particles into the paper. Before framing, leave the finished picture propped up (place it on a shelf) and allow the air to circulated freely for a few weeks. The humidity will help set the color.

Presenting Your Artwork People use photographs in different manners. Some enjoy actually holding photographs without the obstruction of glass. Others like to see photographs displayed on walls. Final presentation depends on the intended use of the images. My Photopaintings are typically displayed in galleries or in people’s homes, so I maintain an awareness of a photo’s presentation during the entire working process. I try to understand how the client wishes to view the work. I consider whether the image is for an office, family room, or mantle, and whether it will be hung vertically or horizontally.

I usually present my images within a museum-quality white window mat that is two to three inches wide on each side. For backing I use either a piece of four-ply board or acid-free foam core to ensure rigid support of the print. To cover the print, I prefer regular glass. The ultraviolet glass has a color bias.

If I’m framing pieces for museums or gallery shows, I typically use black, white, or barnwood frames. I find these work best with my imagery. Frames for specific clients, however, can be more ornate. The frame becomes a decorative piece that complements, and coordinates with, the art and the ambience of the area in which the photopaintings will be displayed. The frame can also direct attention to key elements I n a composition by use of color coordination, texture, and size. It becomes an intricate part of the art. However, the frame should never overpower the artwork.

Archival Storage There are three different avenues for presenting and preserving a completed photo painting: archival storage, matting, and framing. Archival storage systems are designed to protect photographs from the aging processes (especially discoloration) caused by time and environmental elements. Stored improperly, photographs may curl, tear, crumble, fade, or experience discoloration. Archival storage systems are available in various price ranges and

styles, including storage boxes, photo albums, and portfolios. You can purchase them at specialty photography shops and mail order companies. I store my prints in various styles of boxes. Any works that I intend to share with clients, I mat and present in the appropriate size “portfolio” boxes. I store images that I want to keep on file and unmated in flat storage boxes, like those below. Matting and Framing Prints Matting is an effective way to display and store your photographic prints. Matted works make a strong visual presentation; acting as a containing border, the mat adds a professional touch that highlights the work at hand. Additionally, matting protects prints from excessive or improper handling. How often have you seen people hold up photographs with their thumbs planted squarely in the middle of the prints? Matting enables you to avoid this. Plus the mat protects the framed print from otherwise being placed directly against any covering glass. This is beneficial because when glass is placed directly on a photograph, there’s no room for air circulation. As a result, moisture builds up and this moisture eventually damages the photograph.

A mat is generally two boards hinged together. The front or top board has a window through which the photograph is displayed, and the backboard protects the photograph from damage. There are many different styles and colors of mat boards available. You can either purchase precut mats (conservation or museum-quality boards are best to preserve your work), handout your own, or work with a professional framer to create the appropriate mats.

When deciding on the correcting mat size for an image, the rule of thumb is to go up one size for the mat. For example, if you have an 8 x 10-inch print you would purchase an 11 x 14-inch mat. Note that storage boxes conform to the range of standard mat sizes, which are 5 x 7, 8 x 10, 11 x 14, 16 x 20, 20 x 24, and 24 x 30 inches. When working with a custom framer for exhibition or wall display, you can have your mats tailor cut to suit the individual size of each photograph and the intended display wall or area. Typically, mats are at least two inches wide; two and a half to three-inch mats are the widths most commonly recommended by custom framers.

I recommend matting your photopaintings with white mat boards of either conservation or museum grade. A true conservation mat is designed to enhance the longevity of a print and must not contain any chemical impurities that will contaminate the paper or the emulsion of the photograph. Only certain materials and specific methods of construction completely protect eh image from chemical physical deterioration. Conservation-grade boards are an economical choice. They’re acid free and have proven stable over time. Museum-grade boards, with similar archival qualities and a softer, velvety finish, are the high end of mat boards and appeal to discriminating photographers and collectors. A clean, white mat presents the painted photograph in a neutral but enhanced setting.

In a style consistent with the archival philosophy, the window mat is hinged to a backing mat with an acid-free tape, such as Firmoplast. I prefer using acid-free foam core, rather than mat board, as a backing for photographs that will be hand held and viewed often. The rigid nature of foam core protects against mishandling. To attach the photographs to the foam core (or mat backing), I use acid-free picture corners, which prevent the prints from coming into direct contact with adhesives.

To cut mat boards, you’ll need a mat cutter, and there are many styles available. You can purchase a small hand-held cutter or a larger piece of equipment. Mat cutting requires patience and a steady, exact hand. The advantage to cutting your own boards is that you can customize the size of your window openings to accommodate cropped images. It is also economical to cut your own if you plan on using many mats. The disadvantages, however, are the time spent in cutting the mats, the initial costs incurred in purchasing the necessary supplies, and the time and materials involved in mastering the process. There are also some kits available for cutting your own mats. They provide you with a hand-held mat cutter, a straight edge, linen tape, and positioning clamps.

There are many framing possibilities, including ready-made and custom frames, with a myriad of choices in both these categories. You should always select a frame that enhances the photopainting without competing for the viewer’s attention. Images to be hung in groups are often framed in a similar style. In addition, to keep the focus on the artwork, images intended for exhibition are generally framed in a simpler manner than those hung in a private home.

To get an idea of which frames work best aesthetically, notice the frames the next time you view an art of photography exhibition. Study the framing in home decorating presentation is an integral part of a photopainting. How an image is displayed affects its power and how it is perceived.

Signing Your Work Just like matting and framing, the artist’s signature is an element of the final presentation that also deserves reflection. A signature says something about the personality of the artist and, perhaps, something about he work being signed, as well. The signature completes the project and conveys an air of self-respect, pride, board, because the art must then always be contained in the mat to seem authentic. Instead, sign the photograph itself.

Some photographers sign within the photograph, others sign in the white borders of the print, and others sign the back of the print. I’ve seen some photographers use a raised seal as a signature and stamp of authenticity, and I’ve also seen symbols or abbreviations used in a decorative manner. It is up to you. Some photographers also date their work. Dating a photo painting has both pros and cons. On the positive side, it documents the date of completion, enabling you to keep a chronological record of your work both for yourself and for collectors. On the negative side, it dates the image. An image that is thought of as old will seem passé to potential clients and exhibitors. To remain contemporary, it might be worthwhile to keep the dates private.

I recommend signing your name with an archival (lasting) medium, such as oil paints or oil pencils. It can be interesting to sign your name with paint and a brush. I don’t suggest using markers because they may bleed through the fiber of the photographic paper. I use a Marshall’s photo oil pencil, typically in navy blue, and I sign my work on the bottom right or left corner. I print my name small and include the date and series number. Study how other artists and photographers sign their works, and find a style that best suits your personality and work.

As you can see by the breadth of this lesson, there is so much to say about painting photographs. Refer to all these lessons as food for thought. You’ll find in time that as you learn to work with the materials you’ll discover a method—your own recipe which combines color, paper, digital brushes, and blending styles—which best articulates your vision

LESSON FOUR ASSIGNMENT

Central Park, New York New York City’s Central Park has been photographed excessively. In my attempt to say something different, I chose to photograph reflections of fifth Avenue apartments shimmering off the pond by 72nd street. I used a slow shutter to exaggerate the pattern. What you see, are distorted shapes stretched by the movement of the water. The yellow leaf in the top third holds a visual clue. I added a wispy artistic border. I chose the blue color border with the eyedropper tool, a color found within the buildings’ shadows. The picture is printed on Strathmore watercolor paper and has a deckled edge.

Reflections For this assignment, you have the option of photographing or using files in your image library. Consider also creating a composite. You can work with the digital brush or create an inkjet print, which you will then use as a canvas, or “under-painting” to which you will apply washes and layers of color.

Painting with pastels often follows the rule: “Less is better.” Try limiting the number of colors and create a harmonious composition using reflections as your theme. The reflections can either be literal – such as a mirror image or image within a puddle – or an abstraction, such as color or subject, which inspires reflection.

If you are working on a digital print, scan the completed “photo painting.” For those working with the digital brush, experiment with converting to B/W, isolating color, adding fill layers, etc.

Painting Photographs is a labor of love, a time consuming endeavor. Provide a paragraph explaining your strategy and methods (software, art media, and paper).

You may submit up to three photos.