Photography is possibly the most popular form of art today. From the classic black and white that capture crucial moments in the history of the war to seemingly infinite seascapes of more contemporary artists such as Hiroshi Sugimoto, the market is vast and diverse.
Once a collector buys a work of artistic photography, the next immediate step is to preserve its condition, that is, to frame it and then consider where it will hang in the home. Moreover, if it is not prepared correctly, it can become an overwhelmingly tedious and expensive process.
1) Please keep it simple
For the most part, if you just bought a photograph, photography itself is where you want the focus to be, says Siegel. “We took a quite conservative approach to frame photography. It’s about letting the work of art come and talk. ” The most important thing is the quality of the materials used and the subtle ways of highlighting photography, such as carpets. In a color photograph, opt for neutral matte tones to avoid subtracting value from work.
This “keep it simple” rule is one that galleries and museums often follow by hanging several photos in a room. “In a gallery, when you hang 10 to 20 paintings at a time, you do not want each painting to stand out as its entity, you want them to disappear,” says Siegel. “Most of the time, you’ll find that in photography exhibitions, the photographs are framed with the same frame.”
2) Fill it in, do not get over it
When a person is buying their first piece, their masterpiece, they can put more money in it to make it stand out. If you choose to go to a more complicated route with your frame, you can find subtle ways to complement the photo; you can select a structure that has some texture to supplement (but not detract from) the work. Alternatively, I could use an eight-layer matte instead of a four-layer matte, says Siegel. Layer 8 is a double thickness mat that gives more depth to the opening window.
“If you traditionally use blank lacquered frames, which have become the standard for photography, you can also use the frame profile to accentuate an image. If there are rock formations in the photo, for example, one could use a more beveled frame to highlight the texture in the photograph.”
3) It is not always about the trend
Today, says Siegel, some recurring patterns include the use of no frame. While these are not good news for frame companies like Stanhope, many types of contemporary photography seen in galleries and museums have no framework, and that works. “That’s called” mounting on the face “of the photo to a piece of acrylic and plexiglass; it’s an elegant and sexy look that often works well aesthetically.”
The exhibitors will also show works that are mounted (not mounted on the face) on vacuum board, apparently “floating off the wall.” That is a trend that has gone through cycles in the last 30 years, says Siegel, but there is a disadvantage. If you do not put acrylic on the face of a photograph, it is dangerous. Even with face mounting, the photo is protected, but the acrylic face could be damaged. They are now one on the same link; if the picture is damaged, it can not be replaced, which is why museums that buy face-mounted artwork often request that a second impression is stored, if that something happens to the original.
4) Expect to spend
Framing is expensive. Why? There are some components, says Siegel. One, the framing materials are costly. You can frame photographs at low cost, but your picture will be mounted at low cost. “It makes the work of art look cheap.”
Two, the work is expensive. “We have people at Stanhope who have a certain appreciation for what they are driving, and a level of skill for doing it for a while, everything that is framed is treated with the same level of respect.”
Three, there is no way to mass produce custom frames. “Not everyone has that block of 8 × 10 in which the artist, for example, creates a watercolor. Therefore, we cannot make selections of frames that are 11 × 14 to take into account the 3-inch matte. Everything that comes to be framed is written, and a frame is made for that specific piece.”
5) Frame art for art, but consider all the variables
Many factors intervene in the decision-making process of framing and hanging. Knowing where you are going to attach your photo is important, but if it frames with the primary objective of complementing the work of art, it will give you flexibility when you want to move it to a new location or paint a wall. “But it’s certainly not wrong to know that a white frame does not work on the white wall – consider where the photo is currently going, but do not make extreme calls based on that location,” says Siegel.
Then there is the question of how high to hang it. “The common rule for hanging art is 60 inches tall for the center of the artwork. However, that’s in the gallery environment, where there are no furniture or filing cabinets next to it. I think you have to choose a location in the same way you choose a frame. The good thing is that once you hang it, you can always move it.”
6) Avoid the most significant framing error
People can frame their works of art by themselves; They have shown that they are capable of doing it. However, the misconception, like many other things we do ourselves, is the amount of work involved. “It’s an extremely tedious process of doing and doing well: sizing things up the right way, making sure the proportions are right, getting all the necessary materials.”
“The most important component is how the work of art is attached or fit into the frame; how it is attached to your support board. You have to think about the type of hinges or photo corners that are used, so you’re not doing irreparable damage. However, once again, the biggest mistake is how tedious the process can be when you do it yourself. You could find yourself losing an hour chasing a speck of dust. It is a task that professionals make seem easy.”