Here are a couple of larger studio landscapes done from smaller plein air studies done on site in central Tuscany in September. I realize I haven’t posted anything in a while as I’ve been working on these larger studio paintings and they take a long time. I have three more on the easel and I’ll try to update the post as I finish them.
Castelmuzio. 120 x 150 cm, oil on linen.
Scrofiano. 90 x 110 cm, oil on linen.
Update: Here are a couple more, I’ll keep posting them here as they come off the easel. Some are heading for the Grenning Gallery this summer, one is off to Constantine Lindsay in London.
A quick post on calibrating color for photographing paintings. I wrote a longer post in 2014 on photographing paintings with a DSLR using a Colorchecker Passport, Adobe DNG profiles and Adobe Lightroom. That system has worked well for me for the last couple of years, but recently I wanted to use Phase One’s Capture One Pro as I find it to be superior to Lightroom for my needs. The problem I previously had with Capture One was that it doesn’t use the DNG profiles that the Colorchecker Passport software creates.
The only solutions I had found for making ICC profiles were very expensive. The oft-recommended PictoColor InCamera is a ten-year-old plug-in that sells for $200. You then have to find a copy of Photoshop 5.0 to use it with as it’s still 32-bit. There are a couple of other solutions that cost even more.
Enter CoCa, the freeware ICC Color Camera Calibrator. The software works with a number of physical color reference cards. One inexpensive one that I picked up ($30 plus shipping) is the IT 8.7 Calibration Target from Wolf Faust at coloraid.de. It’s the C1 order number on his website (it says it’s for cameras, not scanners) and the package comes with the printed target as well as a CD with the reference files.
The IT 8.7 target from Coloraid.de.
The CoCa webpage has instructions for the software but to sum it up briefly: You first photograph the calibration target under your lighting set-up, then crop it and save it as a TIFF file in your camera’s software. Next, select the image in CoCa, then select the target type and the reference file from the Coloraid CD (R131007.txt). Finally, save the ICC profile in the proper folder so your software can use it (for Capture One it is explained here). You can then apply it to your paintings in whatever software you’re using. For Capture One it gets applied via the Base Characteristics box under the Color tab.
CoCa should work with the Colorchecker Passport too, though I haven’t tried it.
For those using OSX, you can run CoCa through Wine though the process is somewhat complex and requires that you’re either handy with command line interface of Terminal or, like me, reasonably good at following instructions and copying and pasting.
A few people I’ve discussed color calibration with have balked about the high prices for calibration gear. In my opinion, this works out to be a good solution for a bit of time and $35 ($40 in the US).
Below are a couple of images of a painting of mine for comparison:
CoCa with a Coloraid IT 8.7 target and Capture One Pro.
Colorchecker Passport with Adobe DNG and Lightroom.
I have some paintings on display at the Florence Academy of Art‘s New Jersey campus. They’re having an open studio today in their new space in the MANA Contemporary art center. If anyone is in the neighborhood, be sure to pop over. The teaching staff is excellent at the FAA’s new space, and it looks like a very promising endeavor for the school.
Sinalunga from the Valley Below. 20 x 30 cm, oil on panel.
These plein air paintings are actually from a few weeks back, but I never got around to posting them. I was working in the area around Montisi (east of Siena), and looking for views that would work as larger compositions for studio paintings to be done over the winter.
As I’ve discussed before on this blog, the Holy Grail of landscape painting is a view where the foreground, middle-ground, and background compose well and I spend a great deal of time every year driving and walking in search of such a view. An obvious question would be ‘why not just invent it from parts of views taken elsewhere?’ The answer for me is that, in part, my training makes it difficult. I was trained with the more ‘Impressionist’ methodology of sight-size, which requires the subject to be in front of the artist (as opposed to a ‘construction’ based painting system). In part though, it’s also a component of my philosophy on painting of taking a more humble and reverent approach to viewing the natural world. Furthermore, there is a historic precedence as seen in the work of a great number of plein air painters, and Henry Fuseli said it best: “Selection is the invention of the landscape painter”.
It means a lot of driving though.
Castelmuzio #1. 20 x 30 cm, oil on panel.
Castelmuzio #2. 25 x 35 cm, oil on panel.
Castelmuzio #3. 20 x 30 cm, oil on panel.
I’ll often do a number of paintings of the same view when I do finally find one that will work on a larger canvas. This is in addition to a number of pencil sketches to figure out the balance and composition of the final piece.
One of my favorite ‘tricks’ to finding good views in central Italy is to look for the cemetery. They tend to be placed just the right distance from the town, usually with a very good view on the town, and they have parking and shade to work under.
Scrofiano. 25 x 35 cm, oil on panel.
Tuscan Sunset. 20 x 30 cm, oil on panel.
Overall I was quite happy with this short excursion and I think I can make at least three larger studio pieces from a few days worth of scouting.
Honey Seller in the Market, Hallein. 20 x 30 cm, oil on panel.
A few plein air paintings from earlier in the month in Salzburg and Hallein. These are part of a continuing series of paintings I’m doing in the area for an exhibition in Hallein. The show was supposed to be coming up fast, but I’ve pushed it back a year to next October, so I can try to get four seasons worth of work into it.
Schöndorferplatz, Hallein. 30 x 20 cm, oil on panel.
I really enjoy painting in the valley west of Hallein as well, (even though it’s Germany and I’m supposed to be working on an Austrian show).
Church in Oberau (Germany). 30 x 20 cm, oil on panel.
I painted a lot in Salzburg again. I tend to focus on smaller areas as walking a lot to scout can take up too much time for these short trips. In this case I was in the Mirabell Gardens for a couple of days.
Mirabell Gardens #1. 25 x 35 cm, oil on panel.
Mirabell Gardens #2. 25 x 35 cm, oil on panel.
Statues in the Mirabell Gardens. 30 x 20 cm, oil on panel.
Street Musician, Salzburg. 20 x 30 cm, oil on panel.
This last one is unfinished as I didn’t calculate the shadow of the bell tower blocking out my light for an hour. It was my last morning there so I didn’t get a chance to go back this trip.
Carriages in Salzburg (unfinished). 20 x 30 cm, oil on panel.