I mount prints in the way that I feel best works with the image, print process, the type of paper the image is on, and the way it is to be displayed. This included dry-mounting of my 16x20 silver gelatin prints I use to make. The window in the 24"x28" 4-ply board was cut about one inch larger than the image, and the print (trimmed to the image area) was drymounted within the window -- showing the edge of the print's paper. Nothing 'hidden'. As an artist, this is more important to me than the increase/decrease in its perceived monatary value.
I don't think so. I'm sure he knew if someone was positioned in the gutter between two frames, but in the notch? Since there is a considerable lag between framing and shooting it would be hard to have subjects hold a precise position for a while. From what I've seen and read, Avedon stood beside the camera and waited for the moment he wanted with his subjects, rather than having them freeze in place. But with a large group like the example and having to reposition the camera, it's amazing everything came out as it did. I have no idea how many exposures he made and if he made them in sequence (moving the camera or back between each exposure). He used this technique many times (the group portrait of Andy Warhol's Factory comes to mind).I have the book of these images... I respect Avedon's work.
Do you think it was planned that way in taking of the photograph?
Diabond is the go too substrate that I use. as I suggested... next Sintra... Next 8ply museum Rag.
Gatorboard is for commercial jobs slated to be up for 1 year and not a product any fine printing mounting shop would recommend. once again I would suggest you should do your homework.
My experience
Recently for shits and giggles.... Magnum Photographer - we produced five 72 inch silver gelatin prints Mounted to 8 ply Rag.... Last year Armoury Show in New York - 58 inch by 88 inch inkjet mounted to diabond then framed.
I'm not sure Avedon's large prints were mounted.
fwiw, anybody who's seen Avedon's large prints in person knows that they're mounted (in various ways, since he gets what he wants).
Thanks. I am willing to give Avedon the credit of putting the heads under the notches on purpose...not accidental.Wonderful Example Vaughn,
fwiw, anybody who's seen Avedon's large prints in person knows that they're mounted (in various ways, since he gets what he wants).
As well, his prints are made the way he wants them...he called himself a control freak.
See the current Avedon exhibit at Center for Creative Photography in Tucson. Over 50 8X10 contact prints, several larger prints. Don't use Avedon for an example while you remain unfamiliar with his work.
...it seems to me that the photo is mounted on a watercolor paper (if that is the consensus) which is then held on to a more rigid board with some sort of paper corners. The watercolor paper is embossed or indented that gives it a 3D look like an overmat would do.
It looks like the photograph used as an example was cornered onto a piece of matboard just for the filming -- probably to keep it flat for the camera and to perhaps miminize handling of the actual print. The rest of the prints in the portfolio are not cornered in onto matboard.That's what I'm seeing as well.
As has already been said, very elegant, cheap, and space saving.
I got an email from the woman who was doing the talk / lecturing in the video about the work
she said whatever way LACMA receives the work they often replace the original presentation with their own.
I spoke with someone at LACMA who will be getting back to me after getting information from the curatorial staff
(eventually/soon) about the actual print. The inscription note in the object record says that it is in pencil below the image.
So ... at least we know its not photo paper seeing photo paper doesn't typically accept pencil ..
I'll report back if/when I hear back.
I got an email from the woman who was doing the talk / lecturing in the video about the work
she said whatever way LACMA receives the work they often replace the original presentation with their own.
I spoke with someone at LACMA who will be getting back to me after getting information from the curatorial staff
(eventually/soon) about the actual print. The inscription note in the object record says that it is in pencil below the image.
So ... at least we know its not photo paper seeing photo paper doesn't typically accept pencil ..
I'll report back if/when I hear back.
He no longer gets anything (but he not longer wants anything).
.
Thanks. I am willing to give Avedon the credit of putting the heads under the notches on purpose...not accidental.
https://www.tate.org.uk/art/artwork...members-of-the-factory-30-october-1969-p13101
That's unique. I wonder why they thought that up?I have just heard back from the LACMA and ( drum roll please )
They said the prints are silver gelatin images dry mounted on 615 GSM Imperial 300 hand-made paper. The paper is embossed so there is an indent where the print is and the rest of the paper is rough textured and pulpy. Vaughn, you win the door prize!
Hello !
I have just heard back from the LACMA and ( drum roll please )
They said the prints are silver gelatin images dry mounted on 615 GSM Imperial 300lb hand-made paper. The paper is embossed so there is an indent where the print is and the rest of the paper is rough textured and pulpy. Vaughn, you win the door prize!
John
I don't think the museum did that. It probably came from Friedlander or his gallery that way, the signature looks like it is on the paper.That's unique. I wonder why they thought that up?
Great! I need a new back door! It is only 5'11" tall if you have one that size (yes, I am 6'3" and duck a lot). Hand-made paper! That's taking it an extra step!Hello !
I have just heard back from the LACMA and ( drum roll please )
They said the prints are silver gelatin images dry mounted on 615 GSM Imperial 300lb hand-made paper. The paper is embossed so there is an indent where the print is and the rest of the paper is rough textured and pulpy. Vaughn, you win the door prize!
John
Great! I need a new back door! It is only 5'11" tall if you have one that size (yes, I am 6'3" and duck a lot). Hand-made paper! That's taking it an extra step!
Can you please provide a few names of artists who currently use gater board ?
I wonder if because the sometimes ephemeral nature of modern photography if that is taken into
consideration in the mounting of the prints ?
Sounds like a great / sturdy product !
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