The construction of a frame is extremely important. It can make or literally break your work. The work itself must also be properly constructed. For example if your framing a canvas, the canvas should be stretched over the stretchers properly otherwise the frame will cause extra undue stress on the canvas.
I always recommend plexiglas, even in the case of pastels, charcoal and powdery, dry media. It's light weight and doesn't shatter. It scratches easier than glass but the shatter factor is important. Plexiglas, however, does have a certain amount of static and that can effect dry, powdery media intensely but you can purchase wipes and sprays that eliminate static from plexiglas. Plexiglas and glass are also known as "glazing."
With dry, powdery media - always use a mat and an under mat or acid free cardboard that lifts it away from the mat. That will allow for the excess to fall between the mats and not in front of the mat which makes it look terrible.
I prefer mats rather than spacers. You can guarantee that a mat will keep all of your work, no matter what the size is, away from the glazing. Spacers do not guarantee it, especially if the work is larger than 14" on either side. Sometimes an aesthetic or conceptual decision sometimes means that you don't want to have a mat. In that case you will use spacers which are plastic or cardboard pieces that lift the glazing from the mat.
Constructing wood frames is completely different from metal. Usually metal frames will have joiners on the corners and all you'll need is a flat head screw driver to put them together. Put three sides together. Then mat the work, and put the glazing over it. Slide it into the groove in the frame. Put the hardware into the final piece and put it all together. Tighten it and add picture wire. You're done and you have a wonderful metal frame. They come in all colors, sizes and shapes.
Wood frames are a bit more complicated but just as easy to put together but require a few more tools. You will always need a hammer, screwdrivers and an awl. Some will require you to use a drill to "predrill" holes for the screws to go into it. You will also need some Elmers Carpenter Glue and a wet paper towel. Put some newspaper or scrap paper on your surface. Pull out all the pieces and hardware and line them up. In fact this is a good idea when you are putting together anything.
You will see that there are spaces in the corners for a small plastic piece. Place some wood glue on one side of two soon to be adjoining corners of the frame. (Tip: Use it sparingly) Then place the corners together put the little plastic (or hopefully wood or metal) piece into two groves in the ends of the frame. Pick up the frame and wipe off the excess glue with the wet paper towel gently. Repeat until you construct the frame. Leave it overnight to dry - do not skip this step! Drying is very, very important. You don't want to damage your work with the glue or anything else.
When the frame is dry place it face down on a surface. Bang the awl with the hammer gently. It would be best to have a "framing" hammer for that. If the wood is hard you will need to use a drill to "pre-drill" the holes. This is creation of starter holes to screw the pieces that hold the artwork in. Then screw in those pieces. Also screw in the holders for the wire. Place the glazing and the work and the mat together into the frame. Move the pieces that hold the frame to the work, into place and tighten.
There is a myth that you should use a lot of picture wire on your piece. Don't! Pull it very, very taught. As tight as you can. The reason is that it will hold your work flat against the wall. Wrap the wire around the hardware on the frame three times if possible and then wrap the ends around the inner wire until it's finished.
After that I suggest putting bumpers on the bottom of the piece. These are little round, clear rubber adhesive shapes that hold the piece in place. You're ready to hang the piece on the wall! Next post will be about adhering your work to a mat, backing board and how to choose a mat.
May 23, 2009
May 17, 2009
Framing: Choosing a Mat
The first question when it comes to matting your work is esthetics. What color to choose? Whether to "float" the piece or cover the edges of your paper? What size will the mat be?
Ultimately framing is about protection. Making sure your work is safe from environmental damage. Matting your work will do this not only by covering the edges of the work (if you choose not to float the piece) and by keeping it flat. The mat will also keep your piece away from the plexiglass or glass (glazing). This is especially important if you use charcoal, pastels, graphite or other smudgeable materials to make your work. You can also use floaters (pieces that separate the frame from the piece without a mat) but a mat is the ultimate protection for your work.
Choosing a Color For Your Mat
There is a myth - mostly in academic circles - that all mats must either be white or off white. This is certainly not true. In the first place, why would Neilsen Bainbridge or Crescent offer choices in so many colors and textures (you can even get metallic, fabric and marbleized in some cases).
Think about your concept first and foremost. I once framed a brilliant pastel piece for an artist. It was 3" x 3" and depicted a shadow of a human figure on a toned white background. It seemed to me as if you were looking through a keyhole. We chose a charcoal colored mat that was 4 inches square, beyond the piece, on all sides and a metallic charcoal frame to match. It was extremely effective and pushed the concept. It was a beautiful piece and the frame really made a difference.
Secondly, think about the colors in the piece. I usually look for a pinpoint of a color, a spot of green in a corner for example, that an untrained eye would not see. I find that by matching that color it not only enhances the piece overall but can bring out elements that you wouldn't otherwise see. I find this trick remarkable sometimes and it can transform the piece into something that it was ultimately meant to be. Brilliant!
Of course, these two suggestions are just that. There are no hard and fast rules. Only you know the intention of your work and the best way to present it, so please have a part in framing the work. As I've said it can make or break the piece. I've seen artists hand frames over to the framer and the framer totally misses. A good framer will be a partner in making your piece sing and in your success. Remember always that a frame is the final "brush stroke" of your piece.
Acid Free
I addressed this in my last post but it is extremely important. Especially if you want to avoid mat burn or damage that can occur in a matter of one month. Materials are usually considered archival if their acid content is zero. PH is a measure of the acidity of a piece. High acidity is reflected in a low PH and vice versa. A good range is between 6.5 to 8.5. However your material should not register much below 7.0. It also depends on the quality of it's synthetic content and fiber as well.
Not only should you choose acid free mats, supports and materials for your work but adhesives as well. I used to use drafting tape and that was almost alright but the gum on the tape could have damaged the piece as it dried out and would cause burning in the long run. In my next post I will address how to attach your work to a mat and how to hinge the mat.
Ultimately framing is about protection. Making sure your work is safe from environmental damage. Matting your work will do this not only by covering the edges of the work (if you choose not to float the piece) and by keeping it flat. The mat will also keep your piece away from the plexiglass or glass (glazing). This is especially important if you use charcoal, pastels, graphite or other smudgeable materials to make your work. You can also use floaters (pieces that separate the frame from the piece without a mat) but a mat is the ultimate protection for your work.
Choosing a Color For Your Mat
There is a myth - mostly in academic circles - that all mats must either be white or off white. This is certainly not true. In the first place, why would Neilsen Bainbridge or Crescent offer choices in so many colors and textures (you can even get metallic, fabric and marbleized in some cases).
Think about your concept first and foremost. I once framed a brilliant pastel piece for an artist. It was 3" x 3" and depicted a shadow of a human figure on a toned white background. It seemed to me as if you were looking through a keyhole. We chose a charcoal colored mat that was 4 inches square, beyond the piece, on all sides and a metallic charcoal frame to match. It was extremely effective and pushed the concept. It was a beautiful piece and the frame really made a difference.
Secondly, think about the colors in the piece. I usually look for a pinpoint of a color, a spot of green in a corner for example, that an untrained eye would not see. I find that by matching that color it not only enhances the piece overall but can bring out elements that you wouldn't otherwise see. I find this trick remarkable sometimes and it can transform the piece into something that it was ultimately meant to be. Brilliant!
Of course, these two suggestions are just that. There are no hard and fast rules. Only you know the intention of your work and the best way to present it, so please have a part in framing the work. As I've said it can make or break the piece. I've seen artists hand frames over to the framer and the framer totally misses. A good framer will be a partner in making your piece sing and in your success. Remember always that a frame is the final "brush stroke" of your piece.
Acid Free
I addressed this in my last post but it is extremely important. Especially if you want to avoid mat burn or damage that can occur in a matter of one month. Materials are usually considered archival if their acid content is zero. PH is a measure of the acidity of a piece. High acidity is reflected in a low PH and vice versa. A good range is between 6.5 to 8.5. However your material should not register much below 7.0. It also depends on the quality of it's synthetic content and fiber as well.
Not only should you choose acid free mats, supports and materials for your work but adhesives as well. I used to use drafting tape and that was almost alright but the gum on the tape could have damaged the piece as it dried out and would cause burning in the long run. In my next post I will address how to attach your work to a mat and how to hinge the mat.
May 2, 2009
Preservation: Making Sure Your Work Lasts
One answer I often hear to the question of why an artist creates is that they want something that will live beyond their lives. Even if this is not one of the factors driving you, it is very important for you to protect your art. Remember that making art is a generous act, and you should be sharing your message with the world, as long as possible. At least make sure it gets out of your studio in one piece.
Therefore, I cannot stress enough that the investment in archival materials, from making, to matting your works on paper, to how you stretch your canvas, to how you store and transport your work, protection, protection, protection! It's paramount!
Make sure the words "acid free" are on the labels of as many products you use in art making as possible. In addition to promoting the life of your work, it's also good for your health and the environment. It also adds value to your work.
There is a phrase used on works on paper effected by mats and cardboard that is not acid free and it's called "mat burn." This can begin to show in a matter of months to one year. The best way to avoid this is to use only acid free mats and materials. Most art supply manufacturers are now making their materials archival and many are making them of sustainable, environmentally friendly materials. It's also not that expensive, anymore.
A good general rule of thumb is that chipboard, corrugated cardboard and newsprint are not acid free. Be certain before you purchase any art or framing materials that the words acid free are associated with it.
I was an art teacher for a while and many artists would pick up anything and start "doodling" on it. They'd pick up a pad of newsprint and say "Oh, I'm just doodling." Keep in mind that when you're just "doodling" you are free and relaxed are probably going to make the best art of your life. Do not use newsprint. Use sketch paper that's acid free - it's just as inexpensive as newsprint. You can get these materials a my art supply store. Here is a link: http://www.theartistobjective.com/ArtStore/index.html
After 10 years experience in the art supply retail world, I have gone out of my way to choose only the best art making and preservation materials in the industry. You know that what you purchase from my art store is top quality and will help you in the quest to only make the best art possible.
Therefore, I cannot stress enough that the investment in archival materials, from making, to matting your works on paper, to how you stretch your canvas, to how you store and transport your work, protection, protection, protection! It's paramount!
Make sure the words "acid free" are on the labels of as many products you use in art making as possible. In addition to promoting the life of your work, it's also good for your health and the environment. It also adds value to your work.
There is a phrase used on works on paper effected by mats and cardboard that is not acid free and it's called "mat burn." This can begin to show in a matter of months to one year. The best way to avoid this is to use only acid free mats and materials. Most art supply manufacturers are now making their materials archival and many are making them of sustainable, environmentally friendly materials. It's also not that expensive, anymore.
A good general rule of thumb is that chipboard, corrugated cardboard and newsprint are not acid free. Be certain before you purchase any art or framing materials that the words acid free are associated with it.
I was an art teacher for a while and many artists would pick up anything and start "doodling" on it. They'd pick up a pad of newsprint and say "Oh, I'm just doodling." Keep in mind that when you're just "doodling" you are free and relaxed are probably going to make the best art of your life. Do not use newsprint. Use sketch paper that's acid free - it's just as inexpensive as newsprint. You can get these materials a my art supply store. Here is a link: http://www.theartistobjective.com/ArtStore/index.html
After 10 years experience in the art supply retail world, I have gone out of my way to choose only the best art making and preservation materials in the industry. You know that what you purchase from my art store is top quality and will help you in the quest to only make the best art possible.
Framing - Starting Again
It is my hope that this blog may eventually become a book - a comprehensive manual for artists. Thus I am starting the framing part all over again. I feel that I can write it in a much more informational and methodical way. The information I posted here previously was all good but I feel that I can present it in a much better way so bear with me and read on! You will not only find writing about how to frame your work properly but how to conduct yourself and your art for preservation. I hope that this is better and it helps. Please feel free to comment. Your feedback is essential.
February 7, 2009
Scanning Slides-serious advice
Many artists have slides and need to convert them into digital images. The problem is when you scan them yourself the result can be less than perfect - to be diplomatic -and it can be costly to have 100+ slides scanned elsewhere.
It is possible to do it yourself. I recommend getting a scanner with a slide scanning capability (as well as flatbed scanning). I don't recommend any brand in particular but I do recommend looking for one with a transparency scanner of 5" wide or more - especially if you have transparencies. The one I have isn't that large and it's been frustrating but it does scan 35mm negatives and slides as well as flatbed.
I don't like all-in-one printers. Most don't have slide scanning ability and suppose one part of the all-in-one should break down? Then you've lost more than one capability while you have it fixed. Today scanners cost as little as $99 but be sure you're getting good quality.
Make sure the scanner can create .tiff or RAW files. Read below to see what those are. You will get more resolution. You should always save and photograph images of your work as .tiffs because they're clearer. Again I speak about that below. Do not spend more than $200. You can probably get a good slide scanner for $150.00 When you think about what it would cost to send the job out, it will pay for itself ten fold.
Now for tips about scanning slides.
Remember that you are working with a very small image. 2" x 2" at the most. The problem is how do you scan such a tiny image and get the most out of it - in a 5" or larger image? You must always scan at 600dpi or more and then reduce it later. The more pixels/dpi you have to work with the better. Save the image as a .tiff or RAW file. This will give you more exacting color.
Click the "Moire" or "Descreening Filter" on the scanner window on your computer. This will remove patterns or lines that appear in some images. I recommend clicking that button no matter what you scan.
Always use the Professional Mode on your scanner - unless your scanner has trouble recognizing the image. It will allow you more capabilities. However do not use color adjustment or brightness contrast, etc. Use Photoshop or similar photo editing software for that. It does a much better job. I guarentee it, no matter what scanner you have.
Now it's time to hit the "Scan" button. Go for it! You should have a perfect image - taking into account the quality of the slide. Also remember that while Photoshop can work miracles, a bad slide, is a bad slide. Don't be afraid to file them under "G" for garbage.
Once you scan all of your slides, do keep one copy of each. You took the time and spent the money to have them shot after all and they are a good physical record of your art. Always also burn CD's of completed images of your work. A burned CD is as good as a slide. It cannot be erased. Remember my personal philosophy. To be organized, keep records of everything you do and get your images out there wherever you can. It's important! I will be writing on other topics shortly beginning with framing next week so do stay tuned.
It is possible to do it yourself. I recommend getting a scanner with a slide scanning capability (as well as flatbed scanning). I don't recommend any brand in particular but I do recommend looking for one with a transparency scanner of 5" wide or more - especially if you have transparencies. The one I have isn't that large and it's been frustrating but it does scan 35mm negatives and slides as well as flatbed.
I don't like all-in-one printers. Most don't have slide scanning ability and suppose one part of the all-in-one should break down? Then you've lost more than one capability while you have it fixed. Today scanners cost as little as $99 but be sure you're getting good quality.
Make sure the scanner can create .tiff or RAW files. Read below to see what those are. You will get more resolution. You should always save and photograph images of your work as .tiffs because they're clearer. Again I speak about that below. Do not spend more than $200. You can probably get a good slide scanner for $150.00 When you think about what it would cost to send the job out, it will pay for itself ten fold.
Now for tips about scanning slides.
Remember that you are working with a very small image. 2" x 2" at the most. The problem is how do you scan such a tiny image and get the most out of it - in a 5" or larger image? You must always scan at 600dpi or more and then reduce it later. The more pixels/dpi you have to work with the better. Save the image as a .tiff or RAW file. This will give you more exacting color.
Click the "Moire" or "Descreening Filter" on the scanner window on your computer. This will remove patterns or lines that appear in some images. I recommend clicking that button no matter what you scan.
Always use the Professional Mode on your scanner - unless your scanner has trouble recognizing the image. It will allow you more capabilities. However do not use color adjustment or brightness contrast, etc. Use Photoshop or similar photo editing software for that. It does a much better job. I guarentee it, no matter what scanner you have.
Now it's time to hit the "Scan" button. Go for it! You should have a perfect image - taking into account the quality of the slide. Also remember that while Photoshop can work miracles, a bad slide, is a bad slide. Don't be afraid to file them under "G" for garbage.
Once you scan all of your slides, do keep one copy of each. You took the time and spent the money to have them shot after all and they are a good physical record of your art. Always also burn CD's of completed images of your work. A burned CD is as good as a slide. It cannot be erased. Remember my personal philosophy. To be organized, keep records of everything you do and get your images out there wherever you can. It's important! I will be writing on other topics shortly beginning with framing next week so do stay tuned.
January 2, 2009
More on Digital Photography
It's been a while since the last post so here I am again. Happy and Creative 2009. I have more tips about purchasing a digital camera, mostly from a class I took at Noble Desktop a few months ago.
Things to look for in a digital camera:
• More megapixels means you can make larger prints with good detail. 5-8 megapixels should be good but you may want more if you're doing professional photography as an art medium.
•The most important quality of a camera is image quality. Features can make a lower priced camera and a lower megapixel camera better than a high megapixel camera.
•Capable of high ISO - 800, 1600, 2300, etc. Remember the 35mm cameras? They had film speed. ISO is the equivalent of film speed. It means you'll have more options with adjusting for light.
•Clean detailed image with less "noise." Noise is the little dots around the edges around the image that shouldn't be there.
•Fast start-up time and fast focusing, and can take numerous photos per second.
•Controls and menus that are easy to understand and use.
• Long battery life. You can look for this in the number of photos per battery charge.
• Can save images as RAW. Very important otherwise you'll have only one choice to save your images in .jpeg. RAW also captures the most detail and the most pixels.
Accessories you will definitely need:
• Extra memory cards. I found this out the hard way. There I was on my trip to Jerusalem snapping great shots from the bus (you can see one below) and the memory card I'd been using for four years and emptied the night before said I had only 8 shots left. I'd only shot four! Where in Israel to get a low cost memory card? Yikes! Fortunately it was the last day of the trip and my cell phone also takes photos. It actually has a pretty good camera and I've taken photos of art with it but it doesn't compare to my Casio Exilim. I had a 256mb buy when I got home I bought a 2 gigabyte. When I get more cash I'll get a back up definitly!
• Extra rechargable battery - see the above. Batteries don't last forever. (When they do die please recycle because batteries have either lithium or mercury: both harmful for the environment).
•Mini-tripod - which are relatively inexpensive. If you are shooting art this is particularily important. Keep the camera steady while you shoot.
More on image types, resolution, what white balance and ISO is and many more things like that. Subscribe to this blog via atom feed or rss feed on the side to keep track.
Things to look for in a digital camera:
• More megapixels means you can make larger prints with good detail. 5-8 megapixels should be good but you may want more if you're doing professional photography as an art medium.
•The most important quality of a camera is image quality. Features can make a lower priced camera and a lower megapixel camera better than a high megapixel camera.
•Capable of high ISO - 800, 1600, 2300, etc. Remember the 35mm cameras? They had film speed. ISO is the equivalent of film speed. It means you'll have more options with adjusting for light.
•Clean detailed image with less "noise." Noise is the little dots around the edges around the image that shouldn't be there.
•Fast start-up time and fast focusing, and can take numerous photos per second.
•Controls and menus that are easy to understand and use.
• Long battery life. You can look for this in the number of photos per battery charge.
• Can save images as RAW. Very important otherwise you'll have only one choice to save your images in .jpeg. RAW also captures the most detail and the most pixels.
Accessories you will definitely need:
• Extra memory cards. I found this out the hard way. There I was on my trip to Jerusalem snapping great shots from the bus (you can see one below) and the memory card I'd been using for four years and emptied the night before said I had only 8 shots left. I'd only shot four! Where in Israel to get a low cost memory card? Yikes! Fortunately it was the last day of the trip and my cell phone also takes photos. It actually has a pretty good camera and I've taken photos of art with it but it doesn't compare to my Casio Exilim. I had a 256mb buy when I got home I bought a 2 gigabyte. When I get more cash I'll get a back up definitly!
• Extra rechargable battery - see the above. Batteries don't last forever. (When they do die please recycle because batteries have either lithium or mercury: both harmful for the environment).
•Mini-tripod - which are relatively inexpensive. If you are shooting art this is particularily important. Keep the camera steady while you shoot.
More on image types, resolution, what white balance and ISO is and many more things like that. Subscribe to this blog via atom feed or rss feed on the side to keep track.
October 7, 2008
This is a road side photo from a bus tour in Jerusalem
this Summer. The bus was in motion when I took this.
this Summer. The bus was in motion when I took this.
Getting Good Photos - a few tips
A few weeks ago I took a course on intro to digital photography. I thought I knew a lot but it turned out I didn't know everything. I want to share some things I learned with you. The first is the difference in cameras. There are two types. The first type is "Point & Shoot" and the other is "Digital SLR." The difference in price is large (SLR costing a lot more) but for your art you could reasonably get away with a point and shoot. Just know that there are a few things to look for.
See if you can get a camera with 10x optical zoom, certainly 5 or more. When I bought my camera a few years ago it cost $300 (after all of the additionals) for 3x Optical Zoom and 4x Digital Zoom. As I said before make sure you turn off and ignore the Digital Zoom when you are shooting. Some point & shoot cameras can also shoot in "Raw" format. This captures the most amount of information and the most pixels. It's like a .tiff - see below. Then when you get it onto your computer you can change it into a .jpg or whatever format you need to. What's important is that you have the largest selection of pixels and information to be the most accurate.
Although SLR have less camera lag - you know that time between clicking and the actual act of taking the photo - you can overcome this with a point and shoot. I read about this in the New York Times a few years ago and I've now made a successful habit of doing it. Click the button half way. When you've got the image where you want it click the rest of the way. It will illiminate lag and blurriness. It works, really! To prove it to you I will post a photo I took on a trip to Jerusalem this Summer. I was the only one on a bus tour of the city shooting photos while the bus was moving. I got a very clear photo as you will see.
Extras to get with your camera. An extra memory card. Gee I wish I'd known that one before I went to Jerusalem. My memory card died just before I left. Never-the-less I have a pretty good camera on my cell phone so I made do but I couldn't do the tip I just told you about.
Memory cards are holding more and more information. When I came home I got a 2 gigabyte memory card for my camera. I had a 256mb before. They come in 4 gigabyte and there are also new technologies that work with blue tooth and global positioning. It's amazing.
The other tip I'll share with you in this post is to never use the flash on your camera. In most cases the flash on your camera is located just above the lens, right where a person's eye would be if you were shooting a photo of a human being. Hence "red eye." You can balance the lighting with the "White Balance" feature in your camera. Don't just let it shoot automatically. Go into the White Balance menu every time you turn on your camera and adjust it accordingly. For daylight, cloudy, incandescent, flourescent, whatever light you are shooting in. Some even have night time This will balance out the color cast of the light you are shooting in. It will ensure a color correct photo. We know that for your art that is the most important thing. Although you can and should adjust it in Photoshop to get it to match the real thing, it's a real help to adjust the white balance.
O.k.one more tip here. Shoot on the highest amount of Pixels your camera allows. Some call it Super Fine or Fine or Best Photo. The more Pixels the more information you have to work with. Stay tuned for more tips.
See if you can get a camera with 10x optical zoom, certainly 5 or more. When I bought my camera a few years ago it cost $300 (after all of the additionals) for 3x Optical Zoom and 4x Digital Zoom. As I said before make sure you turn off and ignore the Digital Zoom when you are shooting. Some point & shoot cameras can also shoot in "Raw" format. This captures the most amount of information and the most pixels. It's like a .tiff - see below. Then when you get it onto your computer you can change it into a .jpg or whatever format you need to. What's important is that you have the largest selection of pixels and information to be the most accurate.
Although SLR have less camera lag - you know that time between clicking and the actual act of taking the photo - you can overcome this with a point and shoot. I read about this in the New York Times a few years ago and I've now made a successful habit of doing it. Click the button half way. When you've got the image where you want it click the rest of the way. It will illiminate lag and blurriness. It works, really! To prove it to you I will post a photo I took on a trip to Jerusalem this Summer. I was the only one on a bus tour of the city shooting photos while the bus was moving. I got a very clear photo as you will see.
Extras to get with your camera. An extra memory card. Gee I wish I'd known that one before I went to Jerusalem. My memory card died just before I left. Never-the-less I have a pretty good camera on my cell phone so I made do but I couldn't do the tip I just told you about.
Memory cards are holding more and more information. When I came home I got a 2 gigabyte memory card for my camera. I had a 256mb before. They come in 4 gigabyte and there are also new technologies that work with blue tooth and global positioning. It's amazing.
The other tip I'll share with you in this post is to never use the flash on your camera. In most cases the flash on your camera is located just above the lens, right where a person's eye would be if you were shooting a photo of a human being. Hence "red eye." You can balance the lighting with the "White Balance" feature in your camera. Don't just let it shoot automatically. Go into the White Balance menu every time you turn on your camera and adjust it accordingly. For daylight, cloudy, incandescent, flourescent, whatever light you are shooting in. Some even have night time This will balance out the color cast of the light you are shooting in. It will ensure a color correct photo. We know that for your art that is the most important thing. Although you can and should adjust it in Photoshop to get it to match the real thing, it's a real help to adjust the white balance.
O.k.one more tip here. Shoot on the highest amount of Pixels your camera allows. Some call it Super Fine or Fine or Best Photo. The more Pixels the more information you have to work with. Stay tuned for more tips.
September 28, 2008
Labeling Your Images
This may sound a bit simple but I can assure you that labeling your images is very, very important. Here is a list of a few tips:
•Never, ever put spaces between the words - this can result in the recipient getting a broken image and not being able to open it. I know that's the last thing you want so make a habit of doing this. Underscores ( _ ) and dashes ( - ) are o.k.
•Don't use punctuation. Again this can result in broken images. The reason for this is that html uses special codes for punctuation usually forwarded by an ampersand (&) and then a number.
•Make a habit of labeling everything you send via email or post on the web in lower case. This is because there is a new version of .html called .xhtml and it only recognizes lowercase. Although it is not the dominating basic web design language yet, you don't want to miss out on any potential clients or buyers I'm sure.
•Always send .jpg images at 72 dots per inch. No more than 800 pixels in either direction. It ensures that your viewer will be able to load your images quickly and easily. A standing rule for your website is that if it takes more than a minute to load, your viewer is sure to go to another website or blog.
• Lastly, it's a good idea to label your images this way: last name, underscore, title of piece. For example: smith_sunrisehorizon.jpg I recommend this simply because in my online and off line exhibits I have requested this. It makes it easier from my end to keep track of the images. I can identify that it's yours and on your submission form, which piece you're referring to. Making a habit of labeling your images this way will save you time later on.
I have a lot of pet peeves about images - both slides an digital. You wouldn't beeellliiieeevve what I've seen. Read below for examples. These days with digital cameras and scanners being so accessible there is no excuse for bad images. I just took a free course on digital imaging and although I thought I knew everything I learned so much! Read the manual on your camera and visit some online sources. This can help you color correct your images before they hit the screen. I will also share some of the tips I got from the class shortly. Stay tuned!
•Never, ever put spaces between the words - this can result in the recipient getting a broken image and not being able to open it. I know that's the last thing you want so make a habit of doing this. Underscores ( _ ) and dashes ( - ) are o.k.
•Don't use punctuation. Again this can result in broken images. The reason for this is that html uses special codes for punctuation usually forwarded by an ampersand (&) and then a number.
•Make a habit of labeling everything you send via email or post on the web in lower case. This is because there is a new version of .html called .xhtml and it only recognizes lowercase. Although it is not the dominating basic web design language yet, you don't want to miss out on any potential clients or buyers I'm sure.
•Always send .jpg images at 72 dots per inch. No more than 800 pixels in either direction. It ensures that your viewer will be able to load your images quickly and easily. A standing rule for your website is that if it takes more than a minute to load, your viewer is sure to go to another website or blog.
• Lastly, it's a good idea to label your images this way: last name, underscore, title of piece. For example: smith_sunrisehorizon.jpg I recommend this simply because in my online and off line exhibits I have requested this. It makes it easier from my end to keep track of the images. I can identify that it's yours and on your submission form, which piece you're referring to. Making a habit of labeling your images this way will save you time later on.
I have a lot of pet peeves about images - both slides an digital. You wouldn't beeellliiieeevve what I've seen. Read below for examples. These days with digital cameras and scanners being so accessible there is no excuse for bad images. I just took a free course on digital imaging and although I thought I knew everything I learned so much! Read the manual on your camera and visit some online sources. This can help you color correct your images before they hit the screen. I will also share some of the tips I got from the class shortly. Stay tuned!
September 18, 2008
A Word About Photo Editing Software
I really believe that there is no better, more flexible, photo software than
Just a word about buying software second hand or on eBay. Don't. You never know what you're getting and it may interfere with your computer's hard drive or software. It may also bring a virus to your computer.
A word about using very old software. Don't. In the newer versions you'll get even more widgets to make your life easier and give you all kinds of cool things you can do that you couldn't before. In addition the old software may not be compatible with your new computer. Invest in the newer software and invest in your art and most importantly yourself.
USING THE COMPUTER AS A CREATIVE TOOL
Think of the computer as your new paintbrush. What would you do with it. In programs like Photoshop you can paint with it. (Not on it :-) You can paint right in your photos. You can create new images and you can so much more. Think making your image reverse and then adding color - to the whole thing or spot color. You can do incremental work if you purchase a Wacom Tablet. That's on my wish list now. It's a pen for the computer and you can draw and edit with it. The last one I wanted, the Wacom Bamboo, had over 500 impression types so you can do things with the amount of pressure you put on it. Incredible! You can merge images together and create what's informally known as a Photoshop Collage or a Digital Collage. You can even make animations - not complicated ones. Something called animated .gif's. The possiblities are as endless as your imagination. Early in the internet days I saw the Guggenheim Museum endeavor into a virtual museum. You could watch it go from floor plan to virtual reality. So if you need to believe computer generated art as legitimate that should boost your confidence in the medium.
The next post will be about labeling your images and organizing them on your computer. Stay tuned and you can subscribe via RSS Feed. See a link in the bar to the left of this post.
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