How a Photograph Becomes a Painting — Part 1
There’s a moment in the process where a photograph begins to shift,
where it’s no longer just an image, but the beginning of a painting.
This series is about that transformation using portrait studies.
From light…
to photograph…
to transfer…
to painting.
The Beginning: Finding the Light
This portrait was created on location while working with a creative team, each of us building a body of work.
We had chosen a hotel room with beautiful natural light and simple, elegant surroundings to showcase the model and the designer’s collection.
The windows were south-facing, filling the room with a strong, consistent light throughout the day. It was the kind of space where bringing in artificial lighting would have been difficult and unnecessary.
With a young model, my focus is always to help them feel at ease. When someone relaxes, something shifts in the image, what comes through feels more natural, less constructed.
And that’s always what I’m looking for.
The Photograph: Shaping Light
For this image, the model was seated about 3–4 feet away from the window.
She wasn’t directly beside it, this is important.
This slight distance allowed the light to soften as it moved across her face.
I positioned her so she was looking toward the window, creating a three-quarter light across her face:
- Most of her face is illuminated
- A subtle shadow falls along the far edge
- The neck drops gently into shadow
What I often do in a space like this is explore multiple variations, small shifts in position, angle, and gaze.
But ultimately, the image I choose is not the most technically “correct” one.
It’s the one that feels like them.
In this case, her gaze toward the window created a beautiful catchlight in her eyes—bringing clarity and life to the entire portrait.
From Colour to Black & White
Before I begin any painting, I move the image into black and white.
I’ll often create several versions, adjusting contrast and exposure, looking for a balance of light and shadow that I know I can translate into charcoal and paint.
This step is where everything becomes clear.
Without colour:
- The structure of the face emerges
- The direction of light becomes more obvious
- The shadows reveal their role in creating depth
This is where I decide if the image will work as a painting.
The Transfer
For this piece, I transferred the image onto a wood panel using gesso.
At this stage, the photograph becomes something physical, something I can begin to respond to.
The Painting: Establishing Form Through Shadow
This piece is currently in progress.
After the transfer, I began working into the shadows using charcoal.
Because the light is falling across three-quarters of the face, I chose to leave much of the light side untouched, allowing it to remain soft and open.
What gives this portrait its dimension is actually very subtle:
- A fine line of shadow along the far edge of the face
- The deeper shadow beneath the jawline
- The gentle fall of shadow through the neck
These quiet shifts create structure without heaviness.
(Work in Progress Portrait)
What Comes Next
At this stage, I’ve established the values using charcoal.
From here, I’ll begin working with thin acrylic glazes building tone slowly either as an overall glaze or based on the shadows and light in the image, refining the transitions between light, mid-tones, and shadow.
I prefer to leave space between these stages.
Time allows me to return with fresh eyes, to see what’s needed, and just as importantly, what isn’t.
The Invitation
This process, from photograph to painting, is what we explore together in my upcoming course in Haliburton  Fleming College Summer Course - for more information Click Here
We begin with light.
We learn how to see it.
And then we carry it forward into the painting.
Because when the light is clear…
everything else becomes simpler.
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