On Location Lesson 2- I'M SO DIZZY- SOLVING PERSPECTIVE PROBLEMS

ON LOCATION LESSON 2: I'M SO DIZZY! 

SOLVING PERSPECTIVE AND OTHER PROBLEMS

Sometimes in city landscapes with narrow streets, you end up shooting the scene and almost feel dizzy looking at the photos.  It's like looking up at a skyscraper from the sidewalk below.  Streets and fences can also move across the frame at crazy angles.  Bottom line: very steep lines of perspective are uncomfortable.  The fence in the image of this barn is a good example.

The angle of perspective is a bit uncomfortable in this photo

Hint:  BACK AWAY FROM THE SUBJECT and ZOOM IN.

When I back away and zoom in on my subject, note how much more comfortable the scene appears.

I have a camera which has a 50X zoom capability.  It's nice in instances where I want to shoot from a distance.  The advantage of doing this, when it comes to street scenes, is that it "flattens" the landscape and helps create less steep angles of recession in your perspective lines.  If you paint severe perspective, the image will feel edgy. Changing your perspective to allow a bit of distance, can flatten those angles, and perhaps make the image more comfortable to look at.  Try it and see if this doesn't help your photos!


On the other hand...TRY TO FIND A VIEW WHICH IS  "ANYTHING BUT DULL"

I had a different sort of problem in Benajarafe, Spain.  We had come to the beach to paint boats, and the landscape was incredibly level.  No crazy lines or angles here.  I was probably the only dizzy thing on that beach!  This is what I saw...

"Anything but Dull" is a motto of mine.  So something had to be done! If I sat on the beach, my eye (the horizon line) was even with the sides of the boats, and it didn't make for an interesting image.  I needed a different (elevated) perspective.  I tried pointing my camera differently and framing the shots both in landscape and portrait compositions (as I suggested in Lesson 1 of my Painting on Location Series).  That strategy didn't change the fact that my horizon line was not high enough to see anything but the near edge of the boats.  I looked around for a hill.  I thought perhaps I could telephoto the boats from a higher vantage point...but there were no hills nearby. That's when I spotted the stack of pallets on the beach! Ahhh, do you hear the choir of angels singing?? I did!  I'm not sure why these pallets were stacked up on the beach, but they looked as if they might allow me to get a better perspective on my subject.

Sometimes an Artist's got to do what she's got to do...

Against every common sense instinct, I climbed up onto those pallets and sure enough, I had a much more interesting view of the beach!  My 3-legged stool is not the most secure perch, but  there it was ready for "such a moment as this".  I set up my stool on the stack of pallets, and all of a sudden it looked like a scene with elements I'd like to draw!  Woo hoo!






My great idea was seconded by a fellow artist on the beach.  Wei Lan Lorbor carefully joined me atop the stack of pallets, (thankfully she is petite!) We laughed, but we really didn't think much about it...after all, sometimes an Artist's got to do what she's got to do, right? They seemed like the best seats in the house...so there we sat and enjoyed a gorgeous day on the Costa del Sol of Spain. It doesn't get any better!

Hint: Photograph your subject from wherever you draw it.

When you draw or paint on location: DON'T FORGET TO TAKE A PHOTO FROM WHATEVER VANTAGE POINT YOU SETTLE ON.  THIS WILL RECORD THE SCENE FROM YOUR PERSPECTIVE AND ALLOW YOU TO HAVE A GOOD REFERENCE IMAGE IN CASE YOU WANT TO COMPLETE THE PIECE LATER IN THE STUDIO (or in case it rains, or you have a sudden cappucino craving).


I am not a hard-core guerilla painter.  After about an hour in the sunshine on my 3-legged stool, I was no longer comfortable.  My "painting" was just a drawing at that point, but often my body is done before my painting is... even so, I captured an impression of the beach scene and took multiple reference photos in order to paint it later (in the comfort of a studio). Here is my little drawing...

Sketch of Benarafe Beach based on my time on Location that morning

I got off the pallet stack and made my way back to the café, where other (possibly smarter) artists from our group were happily painting in the shade and drinking cappucinos.  I was hot and thirsty and a little stiff.  Though I was happy with my drawing, it was pretty apparent that these smarty-pants in the shade of the café truly had THE best seats in the house.  In fact, they had found inspiration for their paintings in the view of our backsides.  Look what Karen Knutson came up with...isn't it fun?!

"Best Seats in the House"- sketch by Karen Knutson- Tombow markers on paper.  Love it!

I didn't come away with a great painting that day, but I had an experience and a drawing...and a story! Sure it's not always comfortable...and you don't always come away with a masterpiece...but you make a memory.    In some ways painting on location is like camping; not always a simple or comfy, but there's joy to be had in overcoming the obstacles, and some experiences can only be had out in the open and on site. That's what I love about Plein-Air painting...the memories and the experiences.  My drawing and photos from that day allowed me to come up with this little painting once I got home. A happy momento of my visit to Benajarafe on the Costa Del Sol.

Finished painting
All Along the Watchtower- Benjarafe, Spain
Watercolor and Gouache on Paper 11 X 15  $225

The painting above was completed in the studio.  The image is entirely based on elements drawn from the beach.  Their locations and the time of day are "imagineered" by me, but it's still an homage to my time on that beach.  So fun!

If you haven't tried painting like this, I encourage you to give it a go...Take a hat, perhaps a small stool, paper, pen, pencil, eraser, some kleenex, and a camera. Don't worry about doing a finished masterpiece.  My goal is simply to capture elements from the scene which are impressions of my experience there.  Give it a try and report back!

Not sure what to bring?  My complete Supply list for Travel is near the calendar here on the homepage of my website. 

In a few weeks, I will be heading back to Italy with the interesting group I've assembled for my Artfully Tasteful Tour of Tuscany.  We are going to eat, paint, cook, and sip our way around that beautiful region during harvest time...ahhh!  I can only imagine the excellent memories we are about to create!  Interested in going on an international trip of this sort?  Contact me about my next fabulous adventure, and perhaps you can join me...

Let me hear from you! I read every comment and it means a lot to know you are out there reading.


Rebecca Zdybel
Artist, Instructor, Art-Travel Instructor
Art Lessons in all media
Myrtle Beach, SC
rebecca@artmyrtlebeach.com

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Rebecca Zdybel is an artist and instructor in Myrtle Beach, SC.  Follow her and see her work at http://www.artmyrtlebeach.com/

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On Location Lesson 1...Choosing Your Subject

On Location...Lesson 1

Tips for Choosing Your Subject

All the Painters at work in St. Chamarand, France

Painting on location is one of my favorite things to do!  In preparation for my next trip with students to Tuscany Oct 3-10, 2015, I thought I'd begin a series of posts oriented toward helping you get great photos and pick where you should paint when you're out of the studio and on location, or "en plein air" as they say in France.  This first lesson gives some hints on to how to frame your shot. Whether you're a photographer, or a guerrilla painter, hopefully you'll find food for thought here...

St. Chamarand, France

Vue de la Rue- St. Chamarand, France
11x15 watercolor- Rebecca Zdybel

When on location, deciding on your subject...what to paint and how to paint it can be difficult.   Once you find an interesting subject, the next decision you face is how to frame your subject to best advantage?  These are some good questions to ask yourself:

• What angle will you use? 
• Where is the best view? 
• Will your subject be most interesting viewed from head on, from the side, from below, or from above? (hint: look for interesting shapes and angles)
• How much time do you have to paint or draw?  (if not much: then pick something simple.)
• Is there a good pattern of lights and darks?
• What interesting features do you want to highlight?
• Is there shade or a place to sit and be comfortable? 
• Where is the nearest bathroom? This is NOT A JOKE, lol!
• Do you hear thunder?  Also NOT a joke...Take shelter!  (I learned this the hard way right after the photo b!)

Setting up to paint in St. Cirque la Popie-
Don't ignore gathering Dark clouds even if it's bright and sunny...
Needless to say, I didn't get very far before we had to RUN for shelter!

Hint: Use Your camera as a Viewfinder

If you have a subject which excites you and you're not sure whether or not it will make a good painting...TAKE A PHOTO. It used to be that artists would carry little cardboard viewfinders in their bag, but these days, we all have cameras.  Cameras have essentially made it unnecessary to bring an extra viewfinder.

When possible, make an effort to view your subject from multiple perspectives through your camera.  Assess your photos, and then let the best photo help you decide how to compose your painting.  Digital cameras, phones, and iPads or tablets make this easy.  
(I have found that tablet screens e.g. iPads are very difficult to see in the bright sunlight.  They are also cumbersome as camera's...often taking a long time to focus and shoot).  

Scene from Gigouzac, France (Landscape orientation)

Same scene- Gigouzac, France portrait orientation with sunshine

Once you find the right vantage point and get ready to begin your sketch, here's another TO DO LIST:

• I will frequently take a photo with my iPad if I have it.  Sometimes I use it onsite as a quick reference to begin my drawing.  
• ALWAYS TAKE A PHOTO ONCE YOU ARE SEATED AND BEGIN YOUR DRAWING.  This will record your unique seated perspective for future reference if you need to alter your sketch or complete it once you get back in the studio.  Remember: If you take a photo while standing, your horizon will be at standing eye level.  If you sit down, the seated position lowers the horizon line and changes all perspective lines. 
• TAKE ANOTHER PHOTO IF THE LIGHT IMPROVES OR CHANGES.  (Shadows change, and some light patterns are more interesting than others.)

In my next installment I'll give you some tips on solving some of the perspective problems which can arise on location.  Subscribe to this blog so you'll get them delivered to you as soon as they're posted. 

Thanks to those who have been leaving me comments.  I really enjoy hearing from you!


Rebecca Zdybel
Artist, Instructor, Art-Travel Instructor
Art Lessons in all media
Myrtle Beach, SC
rebecca@artmyrtlebeach.com

Spread Light, Share Love, DO Art!

Feel free to share any of this blog post on your own blog or website, but I ask that you you include:

Rebecca Zdybel is an artist and instructor in Myrtle Beach, SC.  Follow her and see her work at http://www.artmyrtlebeach.com/

"Like" my facebook page: Rebecca Zdybel- Artist
Join me on Google+ Rebecca Zdybel Google+ Profile