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  1. #11
    c6h6o3's Avatar
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    Quote Originally Posted by Sparky
    That's right. Most galleries refuse to look at anything else. Antiquated as it might seem. It helps to have stuff framed up first. But it really depends on the gallery. This is ABSOLUTELY de rigeur for an 'art gallery' of any kind. Though perhaps 'specialty' photo galleries may be more sensitive to your silver printing concerns. Seriously though - do a search on google. Use the terms "submission requirements" and "gallery" and I'll bet that 9 times out of 10 that's what you'll get. Your mileage may vary though. In this day and age though - I'd probably just scan the photos and have slides digitized at a lab. It'll probably look better than you could ever photograph in situ.

    J.
    To expound a little on this topic of slides:

    I entered a Members' show at a local arts center and they required slides of the work with the application. When I delivered my work to the gallery after having been selected for the show (all black and white prints) I had a chance to talk to the gallery director about slides, which (let's face it) are a royal pain for photographers.

    She said that the main reason she required them and was reluctant to accept CDs or DVDs was the fact that slides are the truest representation of the work. This director has actually reneged on acceptance of work and thrown people out of shows at delivery because the actual work was of much lower quality than the representation of it which had been submitted on the CD with the application. So she now attaches a proviso to the announcements for shows to the effect that acceptance of any work submitted digitally is entirely conditional upon approval of the actual work, which must pass muster before they'll hang it.

    I later organized a show involving the work of 5 different photographers and again submitted slides. The best ones by far were the ones submitted by Scott Killian, who as Sparky suggests scanned his prints and then sent the scans to be digitally output as slides. They were far better than my EPY photographs of my prints.

    It is often logistically impossible to show prints, especially when you are answering a call for submissions for an exhibition. If done well, slides are almost as good as the original prints and are much more convenient for everyone concerned.

  2. #12
    Jon Shiu's Avatar
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    Quote Originally Posted by c6h6o3
    To expound a little on this topic of slides:

    I entered a Members' show at a local arts center and they required slides of the work with the application. When I delivered my work to the gallery after having been selected for the show (all black and white prints) I had a chance to talk to the gallery director about slides, which (let's face it) are a royal pain for photographers.

    She said that the main reason she required them and was reluctant to accept CDs or DVDs was the fact that slides are the truest representation of the work. This director has actually reneged on acceptance of work and thrown people out of shows at delivery because the actual work was of much lower quality than the representation of it which had been submitted on the CD with the application. So she now attaches a proviso to the announcements for shows to the effect that acceptance of any work submitted digitally is entirely conditional upon approval of the actual work, which must pass muster before they'll hang it.

    I later organized a show involving the work of 5 different photographers and again submitted slides. The best ones by far were the ones submitted by Scott Killian, who as Sparky suggests scanned his prints and then sent the scans to be digitally output as slides. They were far better than my EPY photographs of my prints.

    It is often logistically impossible to show prints, especially when you are answering a call for submissions for an exhibition. If done well, slides are almost as good as the original prints and are much more convenient for everyone concerned.
    How much do the digitally outputted slides cost and any recommendation where to get them done?

    Jon
    Mendocino Coast Black and White Photography: www.jonshiu.com

  3. #13

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    Quote Originally Posted by Jon Shiu
    How much do the digitally outputted slides cost and any recommendation where to get them done?

    Jon

    a lab near me wants $3 each ...
    silver magnets, trickle tanks sold
    artwork often times sold for charity
    PM me for details

  4. #14
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    Many of the galleries wanted digital images on a CD, is this becoming a trend? I was surprised when I asked several of them for submission guidelines. I wanted to show my printed work.

    Art.
    Visit my website at www.ArtLiem.com
    or my online portfolios at APUG and ModelMayhem

  5. #15

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    I hesitate to post this, as it is only partially relevant, but I have in the past done print critiques/portfolio reviews/whatever you want to call them on the Leica stand at Arles and as a result of my experiences wrote a couple of free modules for the Photo School at www.rogerandfrances.com. One is about critiques, under the heading 'critique' (one of the pictures is missing and I have just contacted the web master), and the other is about Fine Art, under the heading 'art and photography'.

    These are probably aiming at a lower level than you are interested in, but as you know, Arles is the longest established and (allegedly) biggest gathering of Fine Art photographers in the world, and these pieces may be of some use to you.

    Cheers,

    Roger

  6. #16

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    Quote Originally Posted by c6h6o3
    Don't show anything that isn't mounted and overmatted.
    I'm curious. When you display an overmatted print, I am assuming you are mounting these prints, mounting the overmat and then putting them in a presentation box?

    Thanks

    J

  7. #17
    c6h6o3's Avatar
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    Quote Originally Posted by jknotzke
    I'm curious. When you display an overmatted print, I am assuming you are mounting these prints, mounting the overmat and then putting them in a presentation box?

    Thanks

    J
    No presentation box. But mounted and overmatted.

    I refuse to buy any presentation box not fabricated by Joe Freeman, who promises to manufacture them at some as yet unspecified future date. Every photographer I know who has seen his presentation box wants one. If you run into Joe anywhere, tell him to get busy. I'll pay dearly for it.

  8. #18

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    Really.. Just mounted and overmatted.

    I'm pretty new to this and had no idea people actually did this. I was always under the impression that if a print was mounted and overmatted that it was going to go into a frame.. If you aren't going to put it into a frame, it's still considered "OK" to put an overmat ?

  9. #19
    c6h6o3's Avatar
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    Quote Originally Posted by jknotzke
    Really.. Just mounted and overmatted.

    I'm pretty new to this and had no idea people actually did this. I was always under the impression that if a print was mounted and overmatted that it was going to go into a frame.. If you aren't going to put it into a frame, it's still considered "OK" to put an overmat ?
    Until a print is mounted and overmatted, it's not finished. I just hinge the overmat with two small lengths of linen tape and then sign the print.

    Frames are for hanging on the wall. If you want someone to be able to hold them and look at them just give them matted prints.

    Would you really walk into a gallery with 20 framed prints to show? My God, you'd need a hand truck.

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