Painting from life vs. photo reference: does it really matter?
The purists say working from life is the only way to truly see color, value, and form—that cameras lie and flatten everything. The photo-reference camp points out that Masters used optical devices, that changing light and weather make plein air a nightmare, and that studio control lets you focus on the painting instead of swatting bugs. I go back and forth on this myself; I love the immersion of painting outdoors, but I also love finishing a piece without racing the sun.
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Working from life creates an abstraction from life. A photo is itself an abstraction from life. Whether it's a first or second generation abstraction is really of little consequence. What you're creating is your idea of something. The main thing when working from a photo is to use it as a reference, not a prescription. Don't try to reproduce it exactly, except as a technical exercise.