The desire to show and share their photographic work is common to most photographers, whether it be for approval, justification or feedback or to advance the work into other fields. Taking the work out of the drawer puts it up against the standard of other work and is often a key phase in the development of a photographer. It is both a challenge and a way to build confidence, as it forces the artist to confront and then state the concept and underlying principle of his or her work. And it can be fun.
The challenge is first defining a body of work, or a theme, and then building a set of images around it. That theme can run from the sublime to the ridiculous and be composed of seemingly disparate elements that somehow come together as a group. It may be portraits, street scenes, a location or a point of view. Once the theme has been established, the work has to be created to a very high standard.
Print Quality
Perhaps the greatest demands on overall print quality are made in the gallery and collecting world. Those who view the work as curators (people who organize such shows and create a marketplace for photographic images), as well as those who consider the work as art "consumers", usually have a high degree of visual sophistication, thus often compare the work they see with the best of what's available.
The gallery world looks at every print for surface flaws and weakness of print tonality. In short, the prints are subjected to a visual "fine-tooth comb". Gallery owners and curators view prints as "precious things" onto themselves and often consider print presentation (the care in mounting and matting, as well as the smoothness and cleanliness of print surface) as a critical element in their evaluation of the work.
A Consistent Look
Unless the show is a retrospective of many years and styles of work, a cohesive approach--paper surface, print quality and even mat and mount board consistency--may be part of what makes a good impression. This is particularly true of themes or essays. A highly professional presentation, in short, is the only acceptable approach.
This is not meant to imply that the work needs to be formalized or presented in a narrow way. The environment of the gallery or display area (be it a library, bank, restaurant or bar) and the tastes of its customers give the best indication of the type of work that is accepted and expected. The gallery owner or curator may also be helpful in this matter, as will the work that is hung on the wall and the photographers that are shown.
Lighting can be merciless in galleries, though some are lit as dimly as a cozy living room. When the lighting is intense every flaw in tonality or print finish will be revealed. Extra care must be taken in printing and preparing the print for framing. When sending or transporting work to a show be sure to pack it carefully; insure the work and use a shipper familiar with the hazards. Bent frames or broken glass are all too common.
While the image itself will guide technique, consider the venue when creating work. Display lighting can be simulated by studying the work under similar conditions. Some display areas cry out for larger prints while others allow for a more intimate approach.
The frame used is a personal matter, though most photographers choose metal sectionals or simple wood frames. If the aim is to show a variety of work in different venues, consider buying one or two standard frame sizes then overmatting all work, regardless of image size, out to those standard dimensions. This will save money and allow for the changing of prints for different shows without making any further investment in frames. Though glass does transmit the image better, Plexiglas can be more practical if the show travels.
The Virtual Gallery
It’s evident that literally millions of photographers are choosing to show their work on the Internet or on their own Web page. Go to any search engine and type in photographers (or more specifically, nature...black and white...landscape...travel, etc. photographers) and the listings seem to go on and on. The idea is instant access without the need for portfolio review and the hassle of waiting a year for exhibit space. The diversity of work now on the Web is astounding, as are the different levels of quality. But there's no question that the Web has opened up new ground for those wishing to exhibit their work to a world-wide audience, one that breaks all regional and city boundaries.
The Web has also proven to be an excellent venue for gaining employment and increasing print sales of event photography. Wedding and portrait photographers now point prospective clients to their Web page for a look at their expertise and style. Commercial photographers post the progress of studio photography to clients across town or the country. Once an event, such as a wedding, is photographed, photographers post the images on a private Web site to allow those who could not attend the wedding or those who otherwise would never to see the proofs to order prints. This has proven to be an excellent way to increase print sales.
Photographers also put up Web pages for print sales. While this is arguably the toughest way to make a print sale, this method of displaying images for sale will become increasingly important as time goes on. Galleries are also showing their collectible prints on Web sites and museums and historical societies are publishing their archives as searchable archives.
For those who want to become engaged in Web display, page design can be as elaborate or as simple as desired. There are literally dozens of software programs and linked software in image editing programs, as well as web “hosts” that will build pages for you. (See georgeschaub.com for a hosted page.)
Other options include social networking sites and, for a more private showing, online albums accessible through a personal address code. This limits the number of people who can see the page, as they must have the code to access it. Professionals use this approach to show their work only to select clients.
The Web has changed the way information is distributed and gathered. It continues to do the same for photographs and photographers. The full potential of this medium will be realized when upload and download times decrease for all.
Text and Image Copyright George Schaub 2009. All Rights Reserved.
