By all means, take a picture with your camera!
With today’s technology, we are taking photos every day, and some of them are really good. But why isn’t that enough for the plein air painter? Why not just paint from the photograph? I’ll try to answer that.
First of all, even the best cameras don’t pick up the values and colors exactly right. That’s why every good photographer is an artist, both with their composition of the scene and with their use of photo-editing software afterwards. But certainly we can do many of the things in the studio that we do en plein air, can’t we? Like re-composing, and leaving certain things out, or moving a tree a smidge to the left in order to provide contrast behind the focal area? Well yes, except that we are working with changing light, so we also have to make a lot of decisions on the spot, and try to mix colors right the first time.
But here’s a big difference. Imagine yourself driving down the highway, seeing some pretty scenery, and stopping to take a picture. Years later, or even days later, maybe even hours later, you are looking back at your photos, and you wonder what it was that made you snap that photo, what it was that caught your eye, why it was significant, why it impressed you enough to stop the car.
Now instead imagine yourself somewhere away from home, enjoying the sunset, shooting a photo now and then as the sunset progresses, listening to the soft rush of the waves coming in to the shore, and the call of seagulls and banter of children playing, with the smell of someone’s barbecue wafting over your beach chair, knowing your friends are up in the vacation house having drinks and telling stories. The sand is gritty between your toes, there is a pesky fly that wants to bite you, and the bottoms of your pant legs are sticking to your skin from getting wet because you walked out to return to the sea a flipping baitfish that had stranded itself on the sand. The key element here is the time it takes to absorb all of those sensations, so that depending on your present-moment awareness, a unique memory can be imprinted, so rich that years from now you might recall the scent of barbecue and the feel of the ocean breeze on your skin and the pleasure of rejoining your friends afterwards, when you look at the one or two photos of that sunset that you decided to keep.
In much the same way, a plein air painter experiences their environment for an extended period of time while painting, and that is the reason not to just settle for a photo. The time invested in the experience allows for the absorption of volumes of sensory information, some of which inevitably will make its way into the painting, whether intentionally or not. If you’ve ever marveled at the difference between seeing a good photo of a painting, and seeing the same painting in person, you know exactly what I am talking about. The painting itself contains an energy that came from the experience of the artist. I remember that tears came to my eyes, I was so overwhelmed when I saw “Starry Night” in person, even though I had stared at photos of the painting many times. It’s like the difference between reading Maya Angelou’s poetry, or listening to Maya Angelou herself reading it to you. She lived it.
It’s interesting when someone compliments an artist by saying a painting looks like a photograph. If it is a photograph of the painting, that might be an apt compliment indeed. But if they see the painting in person, hopefully they will feel the solid mass of rock underfoot and hear the call of the loon in the distance, and her mate answering, and they will know that a photograph could never give the same sense that the painting does. Well, except of course when it is a photograph by a really good photographer – I feel the crunch of the glacier moving and I sense a coyote looking at me, when I look at Ansel Adams’ photos.
So last week I painted through a rainstorm. To be honest, when it started to sprinkle and I went to the car to get my big, wide, painting umbrella, the weather App on my phone said the rain was going to diminish after a bit, not get worse, and by the time I finally figured out that the App was wrong, all of my gear was soaked, and I found myself wondering, why don’t I just take a picture? Thankfully, Florida’s summer rains are not too chilly, because the umbrella only shielded me from most of the rain. I posted a video of the misadventure on my personal Facebook page, 6/13/18, gum-chomping and all..
Here’s the end result, “After The Downpour” – sorry you have to view it as a photo. Even so, I will guarantee you that I would not have gotten this effect if I had just shot a photo and then painted it in the studio. Interestingly, even as I am writing this, my friend Janice Frossard just commented on Facebook about the painting that I blogged about yesterday, Devil’s Backbone First Light: “You can almost smell the sage brush and feel the cool morning air.” That’s what I’m talking about!
In this painting, can you smell the rain?
After the Downpour, 11×14 oils on canvas panel, en plein air