What do you do at 2:30 AM when you’re stricken with a bout of insomnia? Why you tackle a prototype matting job for a very large triptych (3x 10×13 images in a 20×40 mat/frame). Which of course you mis-measure the windows in the horizontal dimension, ending up cutting them 1/4″ too wide.
At least I didn’t screw it up prototyping with 8 ply mat board (which I’ve been known to do before). I think the sequence and the tonal values works for the series, which I’m titling “Head, Heart, Hand”. Or something to that effect.
I think sometimes (perhaps most of the time? All of the time?) presentation can make or break an image. Its success is the culmination of many decisions that begin with the decision of what camera and film to pick up before heading out the door in the morning, following through to what to point the camera at, on to what developer, paper, process, cropping… it doesn’t end until the framed print is hung on a wall, sequenced with the rest of the prints in the show. They all build on each other.
What do you all think of the sequencing of this triptych? Head, Heart, Hand, or the other way round? Any other critique/feedback is welcome.
All three images were shot on Kodak Tri-X, in my 1956 Rolleiflex 2.8E. Film developed in Pyrocat HD, printed on Ilford Warmtone MG fiber paper processed using Ilford Warmtone developer.
After printing a few of these panoramas from Rome, I was so taken by the intimacy of the miniature format of the 2 1/4″ x 4 1/4″ contact print, I went and made a whole series of them. I’m at fourteen of them now, but that number will fluctuate a little as I finish printing and edit down from there. I’m going to go out shooting this weekend and make some more images in the format and perhaps build a full show’s worth.
I took the portfolio to the Sunday morning critique we have at Glen Echo, and instead of presenting them as raw prints, I matted them with 8-ply mats with oversize margins (11×14 inch mat boards, so roughly 4-6 inch margins around the 2 1/4 x 4 1/4 inch window). I also cut the windows such that all the mats could be viewed in landscape orientation regardless of whether the image was in portrait or landscape orientation.
Presentation is very important when considering your work. It should be the first thought on your mind when planning a show – of course you need to edit the body of work, but how it will look on the wall is just as critical to successful reception as the work itself. Good presentation will focus the viewer’s attention on the work and block out the distractions of everything else going on around it.
Also, if you’re at all concerned with selling your work, makes a huge difference in the sales price – poorly presented, someone would pay a poster price for an original Ansel Adams, if they bought it at all. Properly presented, your work will fetch premium prices even though nobody has really heard of you outside your own city.
This webpage is a prime example of the issue of presentation – showing these images here in this size on this medium is a complete and utter failure to represent the scale, quality and impact of the images. You’re looking at them on your monitor, in a size well beyond their actual physical size in reality. And because they’re scans of the prints, the paper texture is exaggerated as are any minor flaws due to the handmade nature of the prints.