Show your mounted/framed photographs on the wall...

[Rolleiflexible]

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.)

Happy to hear you found it inspirational. I agree with you about how alt processes read different but 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?

 

[Pieter12]

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 would venture because that's what the rep knows sells better in the gallery. Same for matted, framed prints. Any serious collector or museum would not display work without it being protected from damage, and when not on display it is usually kept in an archival box in a dim or dark environment. Avedon's giant enlargements for In The American West were just hung unframed and unmounted, but they seem to be the exception. I did see a doozen or so prints from that show at Gagosian gallery and they were behind glass and very hard to take in because of the reflections from the skylights and frosted glass windows there. Poor design for a gallery--maybe it is optimized for evening receptions rather than daylight? Pace gallery in Los Angeles has a much better set-up, I have never seen any glare or nasty reflections on the art on display there.

 

[Sirius Glass]

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 mount my photographs and purchased photographs behind glass or plastic for UV protection and to protect the print. I do not care that the public prefers to buy prints behind glass.

 

[KYsailor]

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

 

[snusmumriken]

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?

 

[KYsailor]

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

 

[snusmumriken]

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

Thanks for the details. It’s long overdue that I try my hand at cyanotypes.

 

[Roger Thoms]

Right before going on the wall.

 

[bjorke]

...on their way to several geographically-scattered walls.

 

[snusmumriken]

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.

 

[Pieter12]

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.

Many galleries will not accept work under glass if it is to be shipped. Even if you put a criss-cross of painter's tape on the glass, there remains the possibility that if the glass breaks during shipping, the art or photograph will end up being damaged. The only reasonable solution that I have seen is an adhesive film you put on the glass to keep it intact in case of breakage.

I once sent a matted print for exhibition--the venue provided a standard size frame--and when it was returned, I could hear shards of glass moving around in the box before I opened it. Someone at the gallery did not realize the matted print was to be removed form the frame before returning and the frame had glass. The print came back with several gashes in it and of course there was glass everywhere since they shipped it back in the box I sent the print in, one that was not designed to hold a framed print in the first place. I informed them of their error, never heard back. Fortunately, I make my own darkroom prints and was able to reprint the image.

 

[logan2z]

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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Very nice! Thanks for sharing.

 

[Mike Lopez]

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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Those look great from here.

 

[infrar3d]

It's that time of year again. When I put together some small, selenium-toned snapshots as gifts for friends and family. A few have already been delivered.

 

[fdi]

Since I am the owner, of course I always use https://www.framedestination.com/

 

[infrar3d]

Since I am the owner, of course I always use https://www.framedestination.com/

Beautiful. And thanks for all the mats.

 

[Citsmith]

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.

 

[Citsmith]

I have also mounted some order holders for a restaurant by my printer to see the prints of a grouping together as I am working.

 

[Sirius Glass]

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.

In earthquake prone areas such as Pacific Ring of Fire areas [Example: Washington, Oregon, California, Japan] the use of glass for framing is discouraged and there are a wide selection of plastic products available: anti-glare, anti-refection, anti-UV …

 

[Citsmith]

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:

The torn / deckeled edges are nice.

 

[GregY]

My daughter, age 11, St. Louis Missouri (now she's 25):

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Lovely!!

 

[GregY]

Fuji 680iii. FP4+ 16x20" Print on Foma Variant FB

 

[Pieter12]

Studio wall.

 

[logan2z]

In a current exhibition in Northern California...

 

[logan2z]

A print I just finished for a friend. Awaiting the frame.

(it's a bit lighter in real life than it appears in this photograph)