e-book Mount - Mat - Frame - SELL: Prepare And Market Your Photography For Exhibition And Sale

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Putting on a show: tips for exhibiting your photography

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How To Market Your Photography Business With Peter Hurley

To preserve the integrity of your paper hanging on these wires, be sure to use plastic or stainless steel clothespins; the wood ones will definitely not be acid free! I once mounted a photo exhibit using multiple images printed on long rolls of paper, each 25 feet or so.

To hang them, we got large half round dowels, cut them to fit the width of the roll, then drilled holes in them so we could bolt the front dowel to the back. We used bolts with wing nuts so they could come off easily after the exhibit concluded. Next, we went to a custom paint counter, and asked them to make us some neutral gray paint, confirmed with an actual spectrophotometer, in use in most professional paint counters these days.

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After painting and final assembly, we embedded eye hooks with picture hanging wire attached into each top assembly. We bolted another set to the bottom of each length of images, to help them hang straight, and hung these vertical displays from the rafters. To protect against these contaminants, we use either glass or protective sprays and varnishes. Glass comes in standard, glare-free, and ultraviolet blocking glass; UV blocking is recommended for optimal print longevity. Sprays can block ultraviolet as well, though not all do; another advantage of sprays is they can incorporate anti-fungal agents, though not all do.

Breathing Color offers Timeless , a very good varnish, as well as a roller system with which to apply it. The Timeless varnish includes a high UV-blocking component very desirable as well as antifungal agents, necessary in high humidity climates. Some people use both glass and spray; indeed, one of the most respected names in imaging, Henry Wilhelm, recommends both. He tests prints for longevity.

3 Ways to Frame Art That Are Actually Affordable

You can read some of his test results on his website , as well as an amazing amount of freely downloadable information about the care and feeding of photographic prints. For most papers, Mr. One of the most important considerations when putting glass over a matte or directly over a print is condensation. Moisture can get under the glass, and if the glass is resting directly on the print, can cause immediate and permanent damage.

The spacer can also keep the matte from touching the print, also desir- able. These spacers are available from multiple framing sources, such as:. Our galloping tour of display methods is at an end. If you have a different way you display your work, please share it below. He loves teaching good color practices to enthusiastic learners. We are going to feature Kevin on an upcoming episode of the podcast and would love to have him answer your color profiling questions. Lyve Canvas is guaranteed to improve your print quality.

Why do a photography exhibit?

See deeper blacks, richer colors, and sharper resolution. Pricing: Retail gallery prices vary between geographical markets and between galleries as well, depending upon clientele and location. As a rule, it is advisable not to place your work simultaneously with galleries that compete directly with each other. Special Gallery Exhibitions: Periodically, galleries stage themed exhibitions in which you might be asked to submit one or several pieces, and also annual or semi-annual judged contests requiring art jury review and acceptance.

However, participation often requires you to help promote the event and to notify people that you know who might attend. If you develop a successful relationship with a gallery, you may be invited to exhibit a small collection of your work for one or two months. Your body of work will typically range from six to twenty pieces, again depending on gallery size and the size of your artworks.

Planning a photography exhibit

This is good to include in your bio and is also a great ego booster. It also requires large framing and production expense outlays. In this event, you should prepare a realistic budget and then make some hard decisions. This is wise, since the gallery owner has experience with the tastes of his clientele and knows what sells.

But almost every artist reaches a point where he or she is tired of doing the same things and wants to create and display something fresh and different. If the gallery visitors have a deeper interest in art regardless of subject, such as in Santa Fe NM, there will be little impact on salability. There are exceptions, particularly when an image has more universal appeal or is an exceptional artwork. But, the percentages are low. Recently, one of my images of an affectionate King penguin couple won second place in the professional division of an annual juried gallery competition.

Over time, the Sedona art market has broadened to include images of other western locales popular with tourists, particularly other Arizona locations. And, my best selling image of all time was taken in Utah. But, it has a compelling western theme as well as red rocks.

The beauty and grace of egrets is appreciated by almost everyone. They are common throughout the American Southwest. Every fine art photographer should experience exhibiting his or her work in art galleries. But, beyond initial ego gratification, the larger issue of financial return and time and effort required must be weighed before continuing in this mode. This is true even for many established photographers who receive most of their income from non-gallery sources.

I have exhibited in galleries for 13 years, and have sold hundreds of fine art prints. Considering sunk costs in non-selling inventory, this is not currently a moneymaking proposition. Eight years ago it was, but not presently. Withdrawing is not a good option as it takes years to re-establish presence after being gone from the market place.

The alternative is to be selective in choosing exhibit participation, to reduce outlays by restricting image size, and to re-use frames. Kevin Raber asked me whether I measure success in gallery sales or in the number of viewers. The answer is a little of both. But, there is an overarching consideration to which years of gallery exhibition have contributed.

The need to continually refine and adjust my work to sell in a tough market has definitely sharpened my vision and skills.