Observation
Observation is a critical thing for ar
Observation is a critical thing for artists. We can’t just
look at things, we have to look at things and really observe; we have to look
deeply and try to see what everyone else doesn’t see. I’
Observation
Observation is a critical thing for artists. We can’t just look at things, we have to look at things and really observe; we have to look deeply and try to see what everyone else doesn’t see. I’ve learned to look deeply over the years, but it is almost impossible to record everything we see. When we look at something, we can store a bit of the information, but even if we see it all, our brains just won’t be able to store it all in such a short space of time.
And that brings me to what this epistle is about. I’ve learned that I can’t store it all, so I take a lot of photos. I have a bookshelf that has about 10 three--ring binders, and each binder is filled with photos. There are photos of just about everything—cars, trucks, landscapes, water, water with reflections, trees, flowers, still life objects, people, shadows, snow, whatever is in nature, I try to record in my photos. Mostly, I work from photos when I paint. But that isn’t the reason I like photos.
I like photos because they let me see after the fact what I missed when I was outside observing. They give me time to look at things and really analyze what is going on with color, value, shape, and texture. They give me time to learn. You don’t always have time to let things soak in when you are out observing. I always miss something when I observe, and the photos let me get a second look. They also provide something else—they provide secondary objects for paintings. No matter how good I frame a photo with a central subject, there are things I don’t like about the composition. I always need something else, and that is when I go to my photo binders, because I know that is where I will find something lurking in a photo. I look through my collection and usually something jumps out—it may not be an object, it may just be an idea—a shadow—an area of light, but something usually materializes for my use. I couldn’t live without my photos.
I started taking photos when I first started this art thing 30 some years ago. In one of the essays below, I mentioned that the best thing an artist could do was set a schedule for doing art. I think the second best thing an artist can do is develop a collection of photos. Those photos will give you much to look at and think about. They will give you ideas for paintings, and give you ideas for composition. They will give you time to look at things deeply. Photos aren’t perfect and have some limitations. However, they're another tool in our arsenal.
--------------------------------------------------------