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I could tell where this was going."Um ... yeah. Pretty much," she admitted."So you've never tried using Aperture or Shutter Priority?" N-no." Can anyone help Miss Olson out?" I raised my hand. I hadn't contributed much so far but I couldn't let this one go. I mean it was so basic!"Ah, Mr. Randahl. It's about time you chimed in. What would you do?" Depending on the camera, change to one of the manual modes and lower the shutter speed, open the aperture, or both." Very good. Anyone have any other ideas?"Brad Hutchins, one of the other guys in the photography program, raised his hand. "Well, if your shutter speed gets down to where you can't hold the camera steady use some kind of camera support, a tripod or something." But you don't have your tripod with you. Then what?" I could tell Mr. Nordstrom was enjoying prying answers out of us. Brad just shook his head."Okay, let me show you a trick," Nordstrom said as he picked up a camera off the table, slipped the strap over his neck and. I usually start by laying in broad areas of color, looking for the dominant hue, tint, or tone. I love color. I had a virtual rainbow of flesh tones in front of me. Jasmine’s mocha skin started with a base of raw umber. Charmaine’s lighter cinnamon coloring started with just a touch of brown ochre. Ariel’s light Asian skin started with transparent gold ochre. Sarah Lynn bore a healthy tan that I started with copper. When Kelly’s skin was contrasted to the white towel she sat on, it was obvious that her pale skin was not pure white, but rather an iridescent pink on which I would carefully paint her transparent red ochre freckles and nipples. Color. The first pass just laid in the basics.A lot of the difference between surfaces we see is in the texture. There is an inherent texture to the substrate, canvas, that I have to deal with. Sometimes it is more pronounced than others. I can overcome it completely by using thicker paint or let the texture of the canvas enhance textiles. A light.
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