Drawing From Photos by Patrick J. Jones (book review).

With his latest book, ‘Drawing From Photos,’ artist Patrick J. Jones explains the problems of drawing from photographs compared to real life. Most of this is because a camera lens can’t compete with the binocular eyes we have. I should clarify that mobile phone cameras use three lenses: long-focus, color, and monochrome, to construct a picture. This is a composite image, not a three-dimensional photo.

Jones makes a valid point when he points out that we’ve become accustomed to lens distortion, which helps us identify objects that are not the primary focus. Given the fact that many of us have been using photographs as the foundation for our paintings or drawings for a considerable amount of time, Jones’ point about lens distortion is valid. I certainly agree you shouldn’t trace from photographs because you’re using the distortions from the camera, and you’re not catching any depth.

I’m likely going further than Jones in this discussion, as digital cameras select a point for their focus. Selecting a mode for photographing people refines the process. Everything else depends on what is most prominent. I don’t see us switching back to film, and I’m still uncertain about the choice of lenses. I looked up the cost of his choice, a 50mm Sigma lens, and it can cost between £350 and £650 even before selecting a camera to attach it to.  It requires being a professional or painting or drawing constantly to justify the cost. I appreciated Jones’s suggestion of using the camera as a backup and making quick sketches to obtain the necessary information.

Jones is also impressed with the depth of the paintings by the Old Masters, Rembrandt, and Caravaggio.  I would like to correct Jones on one point: they did not use cameras. In his book ‘Secret Knowledge,’ David Hockney highlighted the shift in technique when artists such as Caravaggio used a camera obscura to capture their models for painting. This technique involves projecting a lens from the outside into a dark room, causing the image to appear inside. There might not be any film, but it gave an advantage in depth for these artists.

Looking at his second workshop, the back of his model’s foot appears small, which contrasts with our understanding of foreshortening, which typically occurs when objects grow larger in the foreground. Unfortunately, this does not compensate for the smaller size of the female foot.

As you should tell by now, I’m applying my own art knowledge and skills as I would with any artbook. A lot of the above isn’t necessarily criticism but just things I would raise in person as I seek comprehension. Artists always favour the tools they use without necessarily comparing cheaper versions that do as good a job.

In Workshop Four, Jones highlights the complexity of accurately drawing or painting a woman’s breasts, providing one of the most comprehensive explanations I’ve ever read. I believe that the issue lies not so much with the artist, but rather with the purchaser, who desires to see a prominent bustline regardless of the pose. Pragmatically, a heavy bust doesn’t make it easy for a woman to run without a decent sports bra, and you do have to wonder at the superheroines drawn that way. Jones serves as a telling example of how the breasts flatten when a model lays flat, providing valuable insight into the movement of the breasts and nipples.

In Workshop Six, Jones focuses on how muscles differ in their uses and how they integrate differently depending on the physical occupation. Although I concur with him, I’m uncertain about the level of detail required when drawing from photographs alone. This is especially true for females possessing a fatty layer, which contributes to their unique curves. If you’re aiming for an ancient warrior look, I understand your point, but not everyone is a muscular person.

In Workshop Serven, Jones illustrates an issue where one of the model’s hands appears unnecessary and is taken directly from the drawing. His discussion on poses led me to believe that his models are acting like statues, particularly when he instructs them to adjust their finger positions and other details. He claims to have moved on from this issue, allowing the model to determine the details of the pose. Even so, whatever the pose, I do think there is a need to give it a natural look.

Jones makes a lot of beneficial points, far more than my criticisms above. Whether it’s a model or photograph in front of you, the artist’s eye is yours, and how you interpret it on the paper or canvas is up to you. Understanding the limitations and getting around them can only be beneficial to learn from any artist. Jones is no exception to this, so read and learn.

GF Willmetts

November 2024

(pub: Korero Press, 2024. 160 page illustrated large softcover. Price: £22.99 (U) (UK), $36.95 (US), $49.95 (CAN). ISBN: 978-1-91274-017-8)

check out website: www.koreropress.com and www.pjartwork.com