Obtaining and Using Reference Photography for Painting Animals

By: SM Violano ( View Profile - Contact )

Obtaining and Using Reference Photography for Painting Animals

Finding References for Painting Animals and Wildlife
SM Violano
Painting Homeless Pets- One at a time
 http://smvstudio.com

    One of the most difficult problems facing wildlife and animal artists today is obtaining reference material.   If one is fortunate enough to see wildlife up close the encounter is often brief. Domestic animals are rarely willing to model for a painting and are on the move constantly.  Zoos, while great for sketching and observing, usually do not give an ideal view as enclosures will partially obstruct the view and the animal is often on the move or sleeping.     
    In the past, many famous animal artists have relied on biological specimens in the form of animals preserved by taxidermy.  Examples can be found in natural history museums such as the Santa Barbara Natural History Museum where the collection spans several species of wildlife and insects.   This is an excellent resource for painting and sketching but it does have limitations.  The models are frozen in position and often are in need of cleaning so the coats and eyes are not as vibrant.  Birds in particular often have feet positioned as they were in death- rigid and closed- not natural looking.  To solve these issues it is advisable to make studies of the live animals in nature or in Zoos. If this is not an option photograph sources can be helpful to correct the painting. 
   
Painting from photographs is by far the most common way to paint animals.  However there are drawbacks from using photographs that the artist must be aware of:

•    The lens of a camera will distort the subject especially in up- close photography.
This is called a bulls-eye effect. A paw or a nose will be larger on film than in life. For this reason is it vital to have as many photographs of the subject as possible so corrections can be made.

•    Flash photography flattens detail and alters the natural highlights of animal eyes.   Many times the eye will reflect back because of a layer of mirror like tissue behind the lens in some animal eyes called the Tapetum lucidum.  This tissue allows the animal better visibility in low light.  The best photographs for accurate painting have natural light and no flash.

•    What is accepted in a photograph as will look like an error in a painting.   If in your reference photograph the rear legs of a cow are obscured by the front legs and you paint the photograph as you see it, your painting will look like you erred and painted a 2- legged cow.  It is advisable to correct the position of the subject to allow for a 3- dimensional look. The same applies to missing ears, tails etc.   

•    Very few actual photographs make good paintings.  It is vital to consider composition when planning a painting.  Most wildlife and Animal artists will use a combination of images to create one painting. Always PLAN your painting first before painting it.


Obtaining Photographs for Reference:

•    Always get permission in writing from the photographer.   All photographs  including magazine images and internet images are covered by copyright and to use them without permission is copyright infringement.  If you have not taken the photograph be sure to obtain permission in writing from the photographer.

•    Work in partnership with a professional.  Because I do not have the time to go out into the wilderness to lie in wait to get reference material for some of my wildlife work I have established a partnership with a professional wildlife photographer who gives me permission in writing to use his photographs for reference.  While many photographers will give permission freely some request a print or a percentage of painting sale price in return and some will request that you credit them for the reference.  It is good etiquette to credit the photographer- after all they are artists too and they often risk life and limb to get that perfect shot. 

•    Take your own.  This is always the best choice for any artist. 

Tips for taking photographs to paint from:

•    Take a LOT of images on largest setting to capture detail.  I use a professional grade digital camera and will take up to 200+ photographs of each subject I am interested in painting. 

•    Do not use flash.   If you are shooting inside then use a tripod and slower shutter speed.  Most automatic cameras have a simple setting for this.  See your manual.

•    Take the photographs in natural light. Be sure the subject is not back lit as the light falling on your subject will help make a convincing 3-D look in a painting. 

•    Digital zoom vs. zoom lens: Do not use a digital zoom.  Digital zooms crop the image and do not get more detail. In fact they record less detail because the image is smaller.   A zoom lens will capture more detail.  If you are unsure which your camera has refer to the manual.

•    Take photos close up and at a mid- range.  This way you can compensate for bulls-eye distortions and other lens flaws.  It will also be easier to reposition the subject if needed for your composition.

•    Be conscious of shadows falling on your subject.   Try to avoid shadows from trees and other sources as they will obscure detail.  Unless it is part of the composition it is best to leave them out.  If shooting animals in an enclosure such as a Zoo, be aware that glass must be shot from an angle so it will not reflect and that fencing will disturb auto-focus on most cameras making the subject blurry.   Using manual focus is your best bet shooting through fencing.

•    Consider the painting you have in mind and try to mimic the natural lighting of the setting.  If you want an outdoor sunny painting then shoot in sun.  If you want side light then shoot in side light.  Try to be consistent as to sun position on all shots for best composite results.

-SM Violano
Reprint with permission only .http://smvstudio.com

 

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	SM Violano ( View Profile - Contact ) ( 1 lessons, )