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Getting Your Photography Beyond Your Screen--Page Orb
Ah, photography! It has changed the way you see the world. Since you became increasingly interested in photography you see complimentary colors in nature, and shapes and lines in cityscapes. Every direction you turn holds photographic opportunities galore. Enter digital technology and suddenly you can take as many photographs as your memory cards, computers, and or storage devices can hold—for free! You have entered an era of photographic gluttony and you should all revel in it. The downside to this golden era is the shear volume of photos you capture. Once they are downloaded the files are neatly stored away with the latest-greatest file organization systems that you've read about on the Internet or in Photoshop User. Half of these fine specimens of photography, if not more, will never see the light of your monitor again. This gluttony, as fabulous as it is, is resulting in creative waste. One of the most common questions I hear in workshops is, "What can I do with all of my images?" This is a do-it-yourself world and photography is just another area where there are ever increasing opportunities for lonely images.
Traditionally photographs have been matted, mounted and framed to be showcased. This continues to be a great way to display your images. It is relatively simple as well. First, you must print an image, which many people do themselves, but more and more outsourcing options are creating high quality prints for low prices. Many film labs have changed their focus to digital printing. Other services such as Costco, Mpix and Whitehouse Custom Colour are offering easy, online uploading of images and then they ship you the print. Not only are these online printing services time savers, but their quality is getting better and better.
Once you have your printed photograph, and you follow Neil's time proven advice on matting and mounting in the article below, the next question is where do the framed prints go. There is only so much wall space in a home and once you start framing your images you will see just how quickly your walls fill up. Don't be afraid to rotate your art. If you are printing common sizes like 8x10, 8x12 or 11x14 you can switch images out of the frames easily, changing the landscape of your living room on a regular basis. The other options of course are friends and family who are always looking for new art. This is a great way to start getting your art out of your world in into someone else's.
After beginning to produce physical renditions of your images, the questions that remain are "Where do I go to display my work publicly? Is there a way to get my feet wet or do I just have to dive in?" There is always a way to ease yourself into publicly displaying your work. Getting your images in front of an audience is easier then most people think. Just as your friends and family are always looking for new art, many restaurants, libraries, hospitals, etc. are looking to refresh the aesthetics of their business'. Start by looking around the restaurants you eat in, the coffee shops you frequent, even your doctor's office waiting room. Has the art changed since the last time you were there? Don't be afraid to ask someone if there is a submission process for displaying art. The worst thing that could happen is that they say, "No, there is no process. We don't accept submissions." No harm, no foul. Then again, they could always say yes.
Many people who ask about doing more with their photographs have no intention of displaying work publicly, but just want new ways to share their work with friends, family and fellow photographers. Again, there are so many ways to do this I will only scratch the surface. Most of the printing companies that I mentioned above also offer services such as printing your images on postcards, greeting cards or in calendars. These make great gifts for any occasion.
Another option is the ever-growing trend of self-publishing. After Apple developed the iBook in conjunction with iPhoto as a way to create your own books, there have been many up and coming self-publish companies whose goal is to make better quality books with a more user-friendly layout process. Blurb books (www.blurb.com) has an excellent product with a fairly easy-to-use layout program, Booksmart. The company offers many different products from soft to hard bound books, and seven inch square books all the way up to 11x13 inch books. These books are great for high quality vacation albums as well as a method of portfolio presentation.
An area that some people tend to overlook is photo sharing websites. It may not be a gallery show or a published book but sites like Flickr (www.flickr.com), SmugMug (www.smugmug.com) or Picassa (picasa.google.com) are amazing ways get your images beyond your hard drive and out into the world. If you don't have a web site, or even if you do, these photo sharing web sites have extensive communities of photography enthusiasts that spend hours browsing photographs based on keyword searches or site suggested photographers.
The hardest part of getting your photography beyond the comfort zone of your computer is taking the first step. Once you have done that the rest is relatively easy and can be very fulfilling. Go ahead, share your vision with the rest of the world.
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Presentation Part I: Making Your Images Look Great
Quite often I walk through a gallery or look at someone's portfolio and see superb work diminished on account of poor display. Even the best, most professional work can suffer under the weight of subpar presentation. On other occasions, I see photographs of substantially less quality seem superior to work that may be technically or artistically better because the photographer knows how to present his or her work. In other words, presentation is the variable that can make or break the end-of-the day impression.
Last month I shared how changes in presentation have substantially affected my work—not to mention the substance of my teaching. When Ansel Adams critiqued my work in the summer of 1973 during a black and white workshop in Yosemite National Park, I was the only person in our group who did not display my entire portfolio on white boards; I had used either black or grey. All photography, Ansel told us (using my work as an example of what not to do) should be displayed to museum standards; in other words, always use white boards, leave ample white space around each image, use a white window mat, and sign and frame your work in a simple and unassuming way as not to overpower the image. It is the image you want to stand out—the presentation should support, not detract from, your art.
Below are some general tips regarding mounting. Next month I will continue on this topic of presentation with signing, dating, and naming prints; choosing window mats; and, framing. Keep in mind that whichever techniques you use, be sure to purchase archival material (i.e. material that should last for more than 100 years without fading). This includes the paper and ink used for printing as well as all matting and mounting supplies. For high-quality products, I recommend Light Impressions.
Mounting I recommend using either Westminster 4-ply bright white or neutral white boards. For all black and white images, as well as most color photos, I use bright white. For a slightly warmer look, natural white is better. For instance, natural white is great for black-and-white sepia toned prints; it is also appropriate to use for color images that have mainly warm colors such as reds, oranges and yellows.
The size of board that you mount your print on is also a major consideration. I tend to err on the side of more white space around the photo rather than less. Generally, I follow the dimensions listed below. Again, Light Impressions sells high-quality mat board and will have all of the sizes that I recommend.
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Approximate Image Size * |
Matboard Size |
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4 X 5** |
8 X 10 |
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5 X 7 |
11 X 14 |
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8 X 10 (or 8 X 12) |
14 X 17 (or 14 X 18) |
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11 X 14 |
16 X 20 (or 20 X 24) |
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12 X 18 |
20 X 24 |
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16 X 20 |
22 X 28 |
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* the size of the actual image, not the paper it is printed on ** all dimensions are in inches. |
Next, I consider the method of adhering an image to the board. This is a critical consideration as you prepare your work for display. Below are the most common ways that professionals adhere prints. In most cases, you will need to augment this introductory information through either online research or by enrolling in a continuing education class in order to master the process.
| 1. Dry Mounting. This has always been the most traditional method used by black and white photographers—Ansel Adams used this method for all of his mounting. Dry mounting permanently mounts an image on a board. There are two methods of dry mounting. |
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a. Heat Activated Dry Mounting uses an archival, temperature activated, adhesive tissue and a heated press. A print’s white edges are trimmed off, along any the extra mount tissue, so that the two sizes are exactly the same. You will then need to use a dry mount press to adhere the print. You should be fine using any fiber based or resin coated black and white paper, as they were made for this type of mounting. With new digital papers, however, only certain kinds can be used for this method without ruining the image, so be sure to consult your supplier. |
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b. Cold Mounting. This is a newer method developed for most digital papers. In many ways, this method is like heat activated dry mounting except that heat isn’t used to fix the image. Instead the mounting tissue has an adhesive that is not heat activated. You position the image on the tissue or adhesive paper and then use a brayer or hard rubber roller to eliminate air bubbles and wrinkles. Crescent makes an easy-to-use, archival, tissue called Perfect Mount, which does not require an expensive dry mount press like previous method. |
| 2. Corners. This method can be used if your image is smaller than the paper used for printing; for instance, when printing a 12” X 18” image on a 13” X 19” piece of paper. This means that a 1/2” white space surrounds the image. It would be important not to trim the white edges so that they remain covered by the window mat (more information on this next month). Place the corners (which should be archival) on the mount board so that all four corners of the print can be inserted. A big advantage to using corners is the transferability—with same-sized prints, you can swap photos whenever the mood strikes. |
| 3. Hinging. Like with corners, this method also requires that the paper size you use is larger than your image, which ensures that the hinging will be hidden by the window mat. The tape used for hinging is an archival linen tape sold by Light Impressions. In this method, your print is attached with archival tape, hinged, to the top of the mat board. |
Placement on the Board. The placement of the print on the matboard is extremely important. The most common, acceptable placement is to have the exact same amount of white space on either side of the print. The amount of white space below and above the print differs; there should be between 1/8” and 1/2” more white space below the print. There are two reasons for this difference: first, if the print is exactly center, it actually looks lower on the board; second, we sign our name beneath the print on the mount board (methods 1 & 2) or paper (methods 3 & 4), and we want to leave enough space so that the signature doesn’t crowd the image.

How you mount your image greatly affects the finished product. Good mounting is your first step to good presentation. Again, in the second installment on presentation next month, I will cover signing, dating and naming your print; choosing the window mat; and framing—all of which are techniques guaranteed to improve the professionalism of your work.
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Don’t Forget about the RMSP July/ August Newsletter Assignment!
Photograph like a Professional. Neil experienced something that most photographers only dream of—learning from a Master photographer. While there may be opportunities to work or learn from your favorite photographers, for many of us this is not a viable option. In lieu of stalking your idol, you can learn a lot about a photographer by studying their photographs. When looking carefully at a collection of photographs from the same person, look for compositional similarities. The more you understand the style of photography that you are drawn to the more you will understand how and why you photograph. Try it. Go out and find a collection of photographs from a photographer that you like and figure out what you like and why. With the web at our fingertips and photography books galore, this is a pretty easy task....click here to download the full assignment.
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How do you determine the process that works best for you? We ask the pros. We have surveyed photographers on their daily photography practices. Each newsletter will provide a glimpse of different professional photographer’s workflow with the goal of helping you fine tune your own workflow.
Ashleigh Ide is a Summer Intensive Graduate from '04. She is a photographer and retoucher who resides in New York City. We wanted to know what Ashleigh, a former student, and professional portrait re-toucher’s workflow was today.
Capture What are the steps you take to get ready to photograph (the night before, or hour before you go)? It all depends on what I'm shooting. I tend to like to be organic in the capture process. I'll usually stock a suitcase with extension cords, clamps, and some lights from home depot, stock my camera bag with batteries, memory cards, lenses, and usually two bodies, and a tripod. I enjoy shooting in natural light but it helps to have some fill light options as well.
Right before you take a photograph, do you work slowly, deliberately, set up each shot? Or do you work more spontaneously and just go out and shoot? Mostly, it's all spontaneous.
In general, do you pre-visualize and pre-compose or do you find your photographs as they happen/you happen upon them? Both, but mostly it's a more spontaneous process.
How often do you photograph? Every day.
What is your greatest challenge when photographing? If I'm shooting people in a portrait set-up and they're relying on me to tell them exactly how to pose, it's difficult for me to tell them what to do.
Process Briefly describe your process after downloading your images from the camera and before you get into local adjustments? What software do you use? Do you edit right away? Etc. I use Bridge or Photo Mechanic to edit. I'll download, rename, do a quick edit, then do another edit before I start adjusting in Photoshop.
How do you name your files? date_myname_subject.
How do you organize your files? By date (but I'm starting to think I should overhaul and arrange by subject matter with lots of keywords).
Do you do much work on your images in Photoshop or do you perform the basic adjustments (contrast, saturation, and crop) and call it good? It all depends. Oftentimes I find myself making my digital images look more like film (after I make those base adjustments). I try not to make too many adjustments however; sometimes an idea presents itself which requires heavier Photoshop. I work as a retoucher so I spend a lot of time editing other photographers' images. I tend to keep my own images a little simple.
How often do you edit your images? I'll sit down to edit/process about four times a week.
What are your greatest challenges when processing your images? Editing. I shoot a lot of images at once so it's a little painstaking to whittle it down.
Output What is your most common form of output: print, web or multimedia? Web
Explain your web presence. Do you have a website? Who/What company created your web site? I have a website that a friend and I designed, however it is not current (shame on me).
Are you a member of photography/artist social networking sites? Flickr
How often do you post images or go through the output process? I'll usually post an edited image to Flickr once I've saved an output version, or send it to a client electronically.
What are your greatest challenges during the output stage of your workflow? Considering how the image will be viewed (color spaces, monitor calibration, etc...).
What’s your favorite tool, gadget, resource or website? Obviously I enjoy Flickr - there are so very many different kinds of images from which to gather inspiration and it's a friendly community of (usually) happy photogs. And I have a relationship with Photoshop CS3 only rivaled by the one I have with my boyfriend. |
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2009 Couse Catalog coming soon! Look for it in your mailboxes beginning October 1.
 Jacob Javits Convention Center, New York City FREE* Expo admission if you register online today. Enter Promo Code: WTAA1 *Offer good until 10/3/08.
2009 Career Training Information Available Call our office 800-394-7767 or email Bob bobm@rmsp.com or Marie marieo@rmsp.com for more details.
Fall Digital Workshops Photoshop for Photographers with David Marx- November 2-11, 2008 Black and White Master Print with George DeWolfe- October 26-31, 2008 Photoshop for the Landscape Photographer with Tim Cooper- October 19-24, 2008
Thinking about a get-a-way to enjoy the fall colors? Join Doug Johnson for Indian Summer on the Upper Peninsula, Michigan –September 27- October 3, 2008.

Gallery Saintonge invites all RMSP students, instructors and friends to submit work for our first ever JURIED EXHIBITION! This is an excellent opportunity for emerging to established, North American photographers and artists working with any form of photographic media to submit work for review and to participate in a group exhibition in Missoula, Montana. Detailed information can be found on www.gallerysaintonge.com. For questions please email us at gallerysaintonge@rmsp.com. Thank you and we look forward to seeing your work soon!
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