In this interview, it’s all about the art of hand painting photographs with Cheryl Machat Dorskind. Cheryl is a photographer, educator, and mentor. You’ll learn her process for using digital photography to create stunning hand-painted heirloom portraits, and more!
A portrait is a means of communicating feelings, opinions, and perspectives. Collaboration between photographer and subject is essential. Light, wardrobe, and location narrate. The camera is the tool. The photographer is the crafting creator. Whether you are photographing children, adults, celebrities, these five tips remain fundamental in creating compelling portraits, images that grab attention in their open and revealing essence.
Join celebrated Hamptons photographer and educator Cheryl Machat Dorskind and elevate your portrait photography skills. You will leave this webinar inspired and ready to create a compelling portrait.
Please click the link below to view the webinar:
1. When did you first pick up a camera and do you remember your first picture?
I was intrigued by cameras as a young girl, as my dad traveled to Europe often and would bring home lots of cool gadgets. I remember the Minox 110S (early 1970s)—my dad said it was a spy camera; it fit in his shirt pocket and used tiny size film (110 – cassette).
I bought my first SLR when I was 16, having saved from babysitting and an after school job sorting envelopes by zip codes for Easter Seals mailings. I still have the camera — a Nikormat with a 105 mm f/2 lens.
I remember the first photo that hooked me and wrote about it in the introduction to The Art of Handpainting Photographs… I was 16 walking on the beach in Acapulco at sunset, mesmerized by the dramatic sherbet colored sky. I thought, “I want to photograph this.” I returned the following day at sunset and waited for the colors to explode.That was the first time I planned a photo session and “composing and waiting” are now integral components of my photographic style.
2. How long have you been shooting?
I have been photographing for over four decades.
3. Why did you choose your particular specialty
I began my photography career handpainting photographs — a black and white photo did not say enough and the colors in a color photograph were too dominant. Additionally, back then, the color photographic process was not stable; the life of a color print was not predictable. With correctly processed black and white photography, I could guarantee an archival print. And so I learned to paint onto the surface of fiber gelatin photographs, using color (washes and layers of oil paints) to add narrative and tell my photographic story.
While the technique of handcoloring photographs is as old as photography itself and quite popular now in the digital forum, back in the 80’s, it was not prevalent. With determination, I mastered the materials (oils, brushes made of cotton and sticks) and ultimately wrote the book, The Art of Handpainting Photographs, which became a best seller; it sold in museums and is considered the comprehensive guide of hand coloring traditional photographs, which I coined “Photopaintings.”
5. Which, if any, photographers inspired you the most?
Margaret Bourke-White became one of the first photographers I admired. I was most drawn to her pioneering and daring spirit. Her unprecedented access to life events was a testament to her talent and self-confidence.
I discovered Alfred Stieglitz, known as the father of fine-art photography in the US, and read much of his enormous literary contributions (i.e. Camera Work) to the genre. He championed many artists and photographers including Georgia O’Keeffe (whom he married) and Edward Steichen who became curator of photographs at the Museum of Modern Art from 1947-1962.
I have a lot of respect for Minor White (profound educator) and Harry Callahan (Harry Callahan photographed his family and home environment for most of his career). Callahan became the director of the Rhode Island School of Design.
Henri Cartier Bresson’s prolific writings are rich with insights and motivations, echoing and fueling my passion as a photographer and an artist. Bresson coined the phrase “The Decisive Moment.”
“To me the camera is a sketchbook, an instrument of intuition and spontaneity. In order to “give meaning” to the world, one has to feel oneself involved in what he frames through the viewfinder. This attitude requires concentration, a discipline of mind, sensitivity, and a sense of geometry.”
~Henri Cartier Bresson
I was fortunate to know Allen Ginsberg (a photographer as well as the preeminent Beat poet), a friend of my husband. Allen and I spent a day together back in the 80’s at his apartment where he critiqued my work. Later that day, we photographed together in the East Village. Allen taught me many things that I have adopted into my workflow, such as always having a camera with me and using my camera as a sketchbook. Allen also helped me articulate why I was handpainting. I am deeply grateful for his probing and critical insights
Cindy Sherman became a photographer of interest in the early ’80s and I began my own series of self-portraits thanks to her inspiration. Two of my self-portraits were used as book covers on Ann Beattie’s novels.
6. Where have you NOT shot but you hope to shoot there one day?
I would like to photograph in Alaska, Machu Picchu, Peru, and explore New Zealand.
7. How do you create income from your work, e.g. gallery sales, stock, assignment, workshops, books etc.?
I derive income from commission work (portraits, photo restoration, interiors), Hamptons’ workshops (photo safaris and private classes), online teaching at BPSOP, College (I am an assistant professor and have been teaching and lecturing in the college environment for over 20 years) online mentoring through a program I developed called FAME (Fine Art Mentoring Expertise), exhibitions, and books (I have written three books, The Art of Handpainting Photographs, The Art Photographing Children, and my first and brand new eBook, Photographing Children Naturally.)
8. What one thing fuels your photographic passion more than anything else?
Light and color, their essential play, fuel my photographic passion as well as my desire to share what I am seeing and experiencing.
9. Where do you find inspiration?
I find inspiration through reading, watching movies, talking to friends, chatting on social media, taking MOOC classes, joining webinars, learning new software and most importantly teaching. As Dave Mathews says, “And when you give, you get the world.”
10. Although it is for me personally, the least interesting, others I am sure want to know what camera system/equipment you use, Nikon, Canon, Sony, Fuji, Pentax. Do you have a favorite lens?
I use Canon gear for my pro work —I have a 5d M II and will buy the IV when it comes out this year. My go-to lens is the 24-105 f/4L mm lens. I also have a 70-200 f/4L and a 17-24 f/4L mm lens. I love my Black Rapid strap and Lowepro slim bag for walking around with my “pro” gear. I keep a Canon G15 in my purse as well as my iPhone 6.
Working in a business that has a gadget buying frenzy element, I use willpower and often remind myself that it is my vision that matters, not the camera. As Dorothea Lange says, “The camera teaches us to see without a camera.” Many of my photo friends are into the mirrorless cameras, but I have not found one that I would rather have than my purse size Canon G series or the Canon DSLR 5Ds. However, when I do make it to one of my travel dreams, I will probably buy a mirrorless camera and only pack one lens.
In addition to cameras, I have a few computers, iPads, and lots of software. I make it a point to stay up to date with the latest Adobe products and I even learned how to work with HTML5 coding.
11. What, if any, advice do you have for our BPSOP members?
My advice to bpsop members is to photograph often and pay attention to what type of photography you like. What do you feel excited about? The act of capturing is very much the process of photography. If you are involved in the subject with your heart and mind, connected and absorbed—then there you go. That is your passion.
For more information, please visit my website, subscribe to my blog or join me for one of the classes I teach at BPSOP. All About Color, Photographing Children: Rising to the Challenge, and Painting Photos.
I joined Frederick Van Johnson as a TWiP guest on his podcast, “This Week In Photo, episode #484” – along with portrait photographer Joseph Linaschke
TOPICS DISCUSSED
DJI’s new Mavic Pro drone folds up and fits in your hand
Flickr remains relevant while Yahoo circles the drain
Panasonic’s GH5 to arrive in 2017 with 4K video at 60 fps & 6K video
I was interviewed by Flatbooks’ publisher, Trey Ratcliff on my eBook, Photographing Children Naturally
FB: WHEN DID YOU KNOW YOU WANTED TO BE A PHOTOGRAPHER?
I always had romantic notions of being an artist. As a young girl, I studied painting at the local art studio. In my teens, my father traveled to Europe often and would bring home all sorts of cameras. When I was 16, he built a darkroom and I spent many high school nights developing black and white film. I was amazed as I watched the prints develop. I saved money for a couple of years and bought my first “pro” camera—a Nikkormat with a 105 mm f/2 lens. I still have them.
My childhood passions—photography and painting—are the foundation of my career today. I started off hand-painting photographs (layering washes of oil paint onto fiber prints {traditional darkroom prints}). This is the topic of my first book, The Art of Handpainting Photographs. Motherhood propelled me into the field of children photography, a common gateway for many photographers.
FB: WHAT IS THE ESSENTIAL EQUIPMENT NEEDED?
The short answer is, it depends. Photography is more accessible for newcomers as the prices of Prosumer cameras continue to drop. On a certain level, all you need is: a camera, a lens, a media card, a computer, and photo editing software.
I learned from Allen Ginsberg that you don’t have to have a “great” camera to capture meaningful pictures. Rather, you must always have a camera with you and have something to “say.”
FB: HOW IS PHOTOGRAPHING A CHILD DIFFERENT THAN AN ADULT?
The biggest challenge with children is getting them to stay still and act natural. Give them enough space and time and they will cooperate. Better yet, they will forget that you’re even there.
Adults are more easily directed but, they often hide behind a mask—they are nervous and self-conscious. Patience and understanding helps dissipate unease.
A portrait is a collaboration between the photographer and the subject. The whole experience is very social and personal. With subjects of all ages, it’s important to relate, be conversational and encourage relaxation—then real moments appear. This is what I’m after—honest and true expressions. With experience you learn to anticipate the twinkle in the eye, the relaxed mouth, a real smile, loving glances, and emotive body language. You become synchronized and are able to click the shutter at the decisive moment to create a natural, honest portrait.
In my eBook, Photographing Children Naturally, I offer tips for posing and rapport.
FB: WHAT KIND OF EDUCATION AND SKILLS ARE NECESSARY TO BE SUCCESSFUL?
I’m a self-taught photographer. I have a BS in Marketing from Boston University, School of Management. Before photography (BF), I was a Product Manager at CBS Records (now Sony Music). Later, I worked as a graphic designer. These work experiences have been instrumental in my own success as an author, photo artist, and educator/mentor.
Understanding the anatomy of a camera, lighting techniques, and photo editing software are critical to photographic success. Inspiration and innovation arise from understanding the history of photography and art. These cross disciplines are a core component of my teaching and mentoring.
If photography is a business aspiration, it’s important to be proficient in business skills, social media, and writing.
FB: HOW IMPORTANT IS CAPTURING IN CAMERA VERSUS POST-PROCESSING?
Capture (the shot) is king and the goal is to have the best digital negatives. To accomplish this, it’s best to shoot RAW and capture an accurate exposure—the hallmark of a good photograph. Post-processing enhances—it’s the icing on the cake.
That said, “icing” can make the “cake” more delicious. In post-processing I focus my attention on skin tone. Some people prefer warm tones and others prefer cool—I have a really good example of these tones in my eBook, Photographing Children Naturally.
In my RAW workflow (ACR and LR), I go easy on clarity and sharpening. In Adobe Photoshop, I retouch by fixing blemishes, softening wrinkles, sliming down—just a tad. It’s important that there’s not an obvious software connection.
FB: HOW DO YOU STAY UP-TO-DATE IN AN EVER-CHANGING DIGITAL WORLD?
I am curious and open to new people (influencers in many fields including technology, art, literature, film, music, photography) and products (Adobe, OnOne, Nik, Picture Code). I enroll in Massive Open Online Courses, listen to podcasts (TWIP, ASMP, iTunes University, Social Media Examiner), join webinars (Bowens, xRite,) and Google Hangouts. It is easy to say, “My photographs are great, why do I need to learn something new?” But, in this digital renaissance, it’s important to stay current. If you push forward and embrace new technology, your photography will improve. I engage with multiple social media channels (Google +, FB, Tumblr, LinkedIn, Instagram, WordPress). In fact, I found out about Flatbooks from reading one of Trey’s posts a few years back on G+.
I stay up-to-date by reading newspapers (New York Times, LA Times, Washington Post, NPR, Photo District News), books (literary fiction, biographies, science, color theory, photo books), and magazines (The New Yorker, The Handmade Photograph, The Atlantic, The Economist). I look—I visit galleries and museums as much as I can and when I travel, I include museums and galleries in my plans. Art and photography is also readily available through online galleries.
FB: CAN YOU GIVE US SOME GREAT TIPS ON HOW TO PREPARE FOR A CHILDREN PORTRAIT SESSION?
Know the children before the shoot. What interests them? Understand the family dynamics; learn about sibling rivalry and parent participation.
For location portraiture, visit the site a day or two before the shoot, at the same hour you will be photographing. Become familiar with the direction of the light, find the optimal background, and create a list of possible unknowns. Have remedies for excessive wind and sun, bring a large diffuser and a hairbrush. In summertime, bring bug spray. For beach shoots, have parents bring a change of clothes (in case the kids get wet).
Photographing Children Naturally has a couple of great photo shoot checklists. I print them out and review before every photo session. Just the other day, I was really glad that I followed this ritual or I would have forgotten my radio transmitter.