hand painted photos
zeitgeist
When I learned to do it, I was taught by a portrait painter, not a
photographer. She taught that you just can't schemer flesh color on the
face and expect to get a compelling image.
She started by putting "blood' on the face. At the "stress" points, point
of the chin, cheek bones and forehead, she would schemer a bit of cherise or
lip red and wipe most of it off. This gave a base of a little pink that
seemed to disappear, but it made a heck of a difference in the overall
image.
then she said that there is a difference in flesh and flesh shadow and you
should use it in the shadow side. Now, there are two tones of flesh, one
for pale tones and one for people of color.
You have to special order the best flesh tone for pale white skin, it
doesn't come in any ofthe kits, (I have the master set) and I can't remember
the name of it, its been years since I did it. but it is the one thatdoesnt
come in the big kit so that's the one to get.
You can let it dry for two weeks, and it does take two weeks for it to
completely dry, and then put another layer of color down for a more intense
saturated color. remember, the kit is called Marshall's Photo Tints.
have you tried that RC art paper with a surface that you can paint on?
Jefe2cal wrote in message <19990404230606...@ng105.aol.com>...
>is this the right place to find someone to talk about this technique, have
been
>doing it for a while, but looking for new ideas, use marshal paints on
fiber
>paper
Jefe2cal
Zachi Klopman
you can look at other artists' work. try Ian Saudek - he does a lot of this type
of work - but beware: his works are very erotic, sometimes crossing the border
to porn.
Zachi Klopman
---------------
enjoy my work via http://i.am/zachi and write me about your impressions!
paul l schafer
the Marshall oils. I found hand-tinting markers in very soft, muted colors. I
stumbled across the markers at Michaels (a national craft store chain) in the
scrapebooking section...sorry I don't have the brand name with me right now. For a
bolder, more comtemporary look you can use Tomba (?) markers. They will be bright,
vibrant colors but fun also. I have been at a class where we played with these
for senior pictures.
I know the markers are probably cheating but it lets me work my right brain. I
hope I will become bolder and more comfortable so I can try the Marshalls. You can
layer more quickly than the Marshalls (they dry quickly, 1/2-1 hour) to build up
color and you can add tone variations (like a blush on the cheek).
Check Amazon.com for book reviews before buying any. I found a couple of reviews
interesting. Now I want to find the books locally, so I can look them over before
buying.
One concern I have is about the longevity of the tinted images using markers as
opposed to oils and how to finish them. I don't think I spray them.
Good luck and enjoy.
Peggy
Jefe2cal
talked with others who have used markers
and wonder about the longevity of them . One person told me they have a
tendency to fadeafter 3/4 years.
If i find anything out i'll let you know.
i've always enjoyed the process, but lately
have been feeling abit stale, so may try the
markers just to loosen things up.
thanks
jeff
paul l schafer
I just picked up the book "Polaroid Transfers" by Kathleen Carr. It seems
to have good technical points and steps w/pictures. There is also a
chapter on hand coloring. I'm looking for a good book on hand tiniting,
more on the technical side. I like easy to understand steps!
Now that I think about it, the instructor that used the bold Tomba markers,
did the coloring and then shot a color copy of the completed work. That
would insure the longevity.
Good luck and let me know what happens.
Peter Yamasaki
handcoloring photographs for a while. For a few years, back in Boston, we
were the demonstration artists for Marshall at the Hunt Photo & Video show.
Rarely used fiber paper though. Preferred specialty RC papers for the most
part.
So what's on your mind?
Peter Yamasaki
Peter Yamasaki Photography
E-mail: pyam...@earthlink.net
WWW: http://www.nesop.com/pyphoto/index.html
In article <19990404230606...@ng105.aol.com>, jefe...@aol.com
zeitgeist
Peter Yamasaki wrote in message <7ejmrj$ess$1...@fir.prod.itd.earthlink.net>...
. For a few years, back in Boston, we
>were the demonstration artists for Marshall at the Hunt Photo & Video show.
>Rarely used fiber paper though. Preferred specialty RC papers for the most
>part.
How large does that RC 'art' paper go? Can you do 20x24's or larger? And,
can you recommend some good labs or independent printers?
also, do you sepia tone or brown tone your portrait style images. I find
that modern papers just don't contain enough silver anymore for a decent
rich deep mahogany color that I see in old images I find in flea markets and
junk shops. Maybe the color deepens with age, however, since the sepia
process requires that the silver get bleached out and replaced with the
sepia redevelopment, modern papers only take a warm tinge. To get a decent
brown tone, you need to use "brown toner."
Here's a tip for beginning colorists. A good lab will charge 10 bucks for a
fiber 8x10 (or more) and as much as $20 or more for a sepia or other toner.
to practice hand coloring, scrounge in junk shops for old photos. You can
find sepia toned prints on matte finish paper for a little as buck. I
found a stack of almost two dozen portraits of some Hollywood wannabe from
the 30's or 40's, all perfect fiber matte paper for $20. I used them to
practice and demonstrate.
Peter Yamasaki
We used (primarily) Kodak Art-RC, usually in grade 2. The largest size we've
used is 16x20 (also the typical size we use). I'm not sure if it comes in
larger sizes. The labs in Boston did NOT stock this and weren't willing to
use our paper (for reasons unknown). Fortunately, we were able to do our own
printing. Occassionally used other papers (Luminos and Cachet come to mind)
but the bulk was on the Kodak.
We've not had problems with toning. Using the Kodak sepia toner yields us a
nice warm image. Perhaps not as deep as "old images [you] find in flea
markets and junk shops," but warm enough for our purposes (and our
clientele). Haven't tried the brown toner -- yet. I think that'll be a
project for our next trip into the darkroom.
Peter Yamasaki
Peter Yamasaki Photography
E-mail: pyam...@earthlink.net
WWW: http://www.nesop.com/pyphoto/index.html
In article <7eoe91$t97$1...@samsara0.mindspring.com>, "zeitgeist"
zeitgeist
The reason I mentioned the lack of tone on the sepia is that I used to have
a walk in photo studio that did a lot of business in copies etc. I would
charge much more for sepia, but many clients would complain, "Hey, this was
supposed to be toned!" so I would keep the test strips to show the gray
next to the warm toned, or in my case, tinged prints. finally, I was
advised to use brown toner and it worked, prints were BROWN and clients
happy, and I preferred it to the smell of sepia and the extra work to do it.
I was just at a convention and saw the results of iris images in 30 inch
sizes and think that is the way to go.
Peter Yamasaki wrote in message
<7eqqii$gjq$1...@holly.prod.itd.earthlink.net>...
Malcolm Tully
what is the drying time on these products and is it okay to put them behind
glass in a frame? Thanks so much for offering to help.
Malcolm
Peter Yamasaki wrote:
> Don't know if it's the "right place," but my wife and I have been
> handcoloring photographs for a while. For a few years, back in Boston, we
> were the demonstration artists for Marshall at the Hunt Photo & Video show.
> Rarely used fiber paper though. Preferred specialty RC papers for the most
> part.
> So what's on your mind?
>
> Peter Yamasaki
> Peter Yamasaki Photography
> E-mail: pyam...@earthlink.net
> WWW: http://www.nesop.com/pyphoto/index.html
>
zeitgeist
Malcolm Tully wrote:
>
> Peter, can regular artist oils be used or must I use Marshall type oils? Also,
> what is the drying time on these products and is it okay to put them behind
> glass in a frame? Thanks so much for offering to help.
> Malcolm
>
As far as I know, Marshall's are the only transparent
colors. Most paint goes on like...well, paint, it covers
and hides what's underneath. Painters will draw an outline,
sketch, paint, change their mind and repaint something.
If we covered a photo with opaque paint, it wouldn't be a
photo anymore.
The marshall's oils are dry to the touch overnight, but
pro's suggest that they take two weeks for it to be really
dry.
Brad The Dog
can regular artist oils be used or must I use Marshall type oils? Also,
>> what is the drying time on these products and is it okay to put them
behind
>> glass in a frame? Thanks so much for offering to help.
>> Malcolm
As far as painting photos goes it has been my personal preference to scan
the photo I want to color, do it in photoshop, have a negative made from the
digital file and then print from there. I do this a lot with black and
white photos. While it doesn't have a hand painted look, you save many a
dollar and still have beautiful works with out the fear of messing up a
perfectly fine photo.