Asher Kelman
OPF Owner/Editor-in-Chief
We have all sorts of habits in photography for creating a frame for the already impressive photograph.
Having said that, and that your work is worthy of proper curation, think about the whole bistro of frames.
In the olden day’s of court painters and artists retained by wealthy patrons, the ego of the rich and powerful were displayed in thick gilded flamboyant frames.
Gradually we have learned that how the image you have made so wonderfully is presented to the public is of paramount importance.
In commercial galleries where bespoke oil paintings are resold in their original vintage ornate gold frames, the pictures, themselves are isolated and ordered so the change in framing does not disturb visitors.
There is, whenever possible, (and space is precious and costly), generous breathing space around each picture. But why? It’s because each work of art is a living breathing creature and needs freedoms to extend its influence and sing to the neighborhood. Clustering the pictures, unless you have a dozen Van Gogh originals, will decrease the chances of a sale.
Now here is where we have learned to do better in curating art. We’ve moved away from frames that imprison and restrict the works. Frameless presentations are more common.
Now back to the canvas or the photographic composition. Having done so well in recruiting hard to please fellow photographers, peers who love you and adore your creative work and technical prowess, consider when it might be useful to your esthetics to purposely add empty space around the periphery.
So let your work breathe and sing to the surrounding territory you allow it to influence!
Asher
Having said that, and that your work is worthy of proper curation, think about the whole bistro of frames.
In the olden day’s of court painters and artists retained by wealthy patrons, the ego of the rich and powerful were displayed in thick gilded flamboyant frames.
Gradually we have learned that how the image you have made so wonderfully is presented to the public is of paramount importance.
In commercial galleries where bespoke oil paintings are resold in their original vintage ornate gold frames, the pictures, themselves are isolated and ordered so the change in framing does not disturb visitors.
There is, whenever possible, (and space is precious and costly), generous breathing space around each picture. But why? It’s because each work of art is a living breathing creature and needs freedoms to extend its influence and sing to the neighborhood. Clustering the pictures, unless you have a dozen Van Gogh originals, will decrease the chances of a sale.
So one must respect art and scrape up space for the work.
Now here is where we have learned to do better in curating art. We’ve moved away from frames that imprison and restrict the works. Frameless presentations are more common.
Now back to the canvas or the photographic composition. Having done so well in recruiting hard to please fellow photographers, peers who love you and adore your creative work and technical prowess, consider when it might be useful to your esthetics to purposely add empty space around the periphery.
I promise you that the well established academic aphorism
of respected instructors "to frame close and crop closer"
is, (likely as not), a tragic and destructive design error.
of respected instructors "to frame close and crop closer"
is, (likely as not), a tragic and destructive design error.
So let your work breathe and sing to the surrounding territory you allow it to influence!
Asher
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