Thanks for the inspiration, Sanders—that’s definitely the approach that I’d try on my walls…and it also seems to lend itself to triptych/polytych works as well. For whatever reason, I find I “read” alt prints totally differently than bog standard silver gelatin…being somewhat akin to glyphs rather than realistic paintings. ( Vincent’s approach appeals to me for the same reason.)
I just had a sobering experience with a gallery rep who looked through part of my portfolio, then asked if I always printed on matte papers, and would I consider printing on glossy stock?
I have a new series of drawings, all based on my original photographs, and after a discussion with one of the art professors who sells quite a bit of work, I learned that, in her opinion, work that is framed under glass will more likely sell as this is what the buying public expects. I am framing this series, under glass but using spacers to keep the glass away from the paper and mounting the paper to the backing board using the t-hinge method, allowing it to float a bit.
I have quite a few of my images framed around the house, here are two recent two cyanotypes under glass... probably would look better without it, and an B&W inkjet. Sorry about the reflections. Although I have sold a few prints, I really only do this for my enjoyment. I get tired of them every few years and change them out to my latest images.
Dave Najewicz
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Those cyanotypes, especially the sailing one, look fantastic! So what process have you been through to get there? Presumably the top one was taken on film? Then what?
Sorry, the photrio web site was giving me such aggravation about sizing the photos I forgot to mention - none are actually on film, the top is a image taken with a Fuji X-E1 18-55@18mm, the flowers taken with a Nikon Z6 using an inexpensive 35mm/F1.2 MF lens at 1.2, and the Paris image with a Fuji X-t1 18-55@48mm... all were processed in lightroom for the monochrome conversion.
The cyanotypes were made from negs printed on pictorico film using a cyano curve developed by a Cooper Union college art class I found on the web. Both cyanos were made with standard B&S cyano solutions, water/vinegar development. The sailing image is on Canson Montval watercolor paper, the flowers on Arches Aquarelle cold press watercolor paper ( it give a wonderful deep blue black) and the B&W is an inkjet on cotton rag paper from Red River, Epson 3880.... thanks for your interest
I have a new series of drawings, all based on my original photographs, and after a discussion with one of the art professors who sells quite a bit of work, I learned that, in her opinion, work that is framed under glass will more likely sell as this is what the buying public expects.
I switch out the photos in these frames on a regular basis. This week’s selection are newly printed from a roll of Double-X in Paris last October.
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I switch out the photos in these frames on a regular basis. This week’s selection are newly printed from a roll of Double-X in Paris last October.
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Beautiful. And thanks for all the mats.Since I am the owner, of course I always use https://www.framedestination.com/
This is such an interesting area. I have always felt that the final print was THE image and not any intermediate or digital version. I have been working with grouping similar images with gesture / motion that works with one another. For this I have used inexpensive glass frames that I can change out the images of a grouping and so I see them at all different times. These photos are less than ideal but you can get the idea.
I have four kallitypes up on the wall in the Weizenblatt Art Gallery at Mars Hill University this summer. I hinged them each onto half-inch gator board -- very simple. Here are a couple of snaps from the installation:
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