How Color Theory Can Help You With Your Framing

Color plays a pivotal role in a visual artist’s work. Having an understanding of the basics of color theory can help create a logical structure for color and help to understand how color is formed. There are three main categories in color theory: The color wheel, color harmony and the context of how colors are used. In this blog post, we will be focusing on color context.

Color context is how color behaves. Meaning, how it is represented in relation to other colors (and shapes). Looking at certain different colors can affect the way we perceive other colors. For example, the way you view the brightness of a mid gray (hue and tone) is altered when placed adjacent to other colors.

Observing the effects that colors have on each other is a starting point in better understanding the relativity of color. One of the ways understanding color can help you is when you are framing your work.

The mat you choose for your work can change the look of your image based on its relationship to the values, saturation and the warmth or coolness of different the hues. Lets look at a couple of examples of how you can use your understanding of color when framing your work.

College Series: You've gradauted, Now what?

If you went straight from high school to college, you have been in school for almost all of your life. Now it is time to graduate and you are going to have to deal with the real world real soon. Art school tries its best to prepare you for getting a job but there isn't always talk about what to do artistically when you are out on your own. In art school, you have deadlines you have to meet, teachers for advice all around, and great opportunities to participate in critiques multiple times a week. Once that structure falls away, you will need to replace it with something so that you can keep making art even if your job or lack thereof isn't giving you the motivation you need.

Images Courtesy of Alex Simpson and Claire Daly

One thing you can do to keep yourself making work is to set up a critique group. Talk to the people you graduated with or even artists you know around town and see if they would want to meet once or twice a month to discuss new work and ideas. You could even look on social media for open groups in your area if you are new to a city. Even if you are consistently making work without need for extra motivation, critique groups are great places to share your new things and learn to articulate your ideas. If you need a push to make things, this gives you deadlines and an open place to think about new ideas without the stress of grading. These groups can also help you make connections

Once you're out of school, most likely your job will not include being around art all day. If it does, you're one of the lucky ones. Try your best to go to openings, museums, galleries, and even artist's websites often. It is important to look at art whether you are making any or not to keep yourself stimulated creatively. You also want to be in touch with the contemporary art world and know what is going on in your city as well as globally. Follow museums and galleries on social media so that you know when events and shows are happening.

Finally, you need to continue making things or writing about making things and ideas. This is the hardest of the things you need to do when you graduate. Try to make something or write out ideas once a week. Like the cliche saying goes, you've got to use it before you loose it. Keep your mind sharp and don't forget all of the skills you learned in school.

Graduating can be scary if it your first time out of school in ten years, but there are measures to take so that your post-grad life is just as creatively productive as the forced deadlines and creative environment that art school provides.

Artist Spotlight: Michael Spencer

Michael D. Spencer, is a freelance photographer based in Somerville, MA, specializing in music documentary projects and album art, editorial assignments and studio portraiture. He is the recipient of the Massachusetts Cultural Council & Somerville Arts Council's 2013 Cultural Heritage Fellowship. Michael works closely with local social advocacy and non-profit organizations to advance their grassroots efforts. He also creates exhibitions and hosts fundraisers at his studio and gallery near Somerville's Union Square. Recent projects include a documentary series titled, "Homes for Hope," produced in partnership with the Massachusetts Housing & Shelter Alliance.

How did you become interested in photography? Was it something you grew up with?

MS: As is the case in a lot of families, I had an adoring aunt who was constantly taking Polaroids -- capturing holiday gatherings, vacations, and birthdays, and to be honest, it kind of annoyed me as a kid. Little did I know then what sort of weight her images would carry a few decades later for my family. As time moves forward and generations pass on, Aunt Mary's images now provide an amazing visual documentation of the people, places and things that make up the fabric of our family's story, and we're fortunate to have them.

I didn't connect with photography myself until late in high school, and even that was casual at best. I was the kid who had five art classes senior year and became photo editor for the year book -- not because I was necessarily qualified for the role, but more so because I never left the art room. After that, it fell off as a hobby for years and then it wasn't until my mid-thirties that it resurfaced with a vengeance after a career change. Since moving to Somerville in 2006, I've had the honor of calling many talented musicians and artists friends, and it was seeing them live their passions full time that gave me the inspiration to leave a 12 year corporate career and pursue my own path as a photographer. That was 8 years ago and it's been a great ride so far.

What first drew you to photographing people? How do you make the clients feel relaxed in front of your camera?

MS: Photographing people is difficult to do well; I enjoy that challenge. Whether I'm backstage with a band, in a boardroom with an executive, or walking backwards looking out at thousands of protesters in the street, the impetus is the same. Regardless of circumstances, as photographers we need to capture the best images possible of those people in those places at that time, and I work well under that type of pressure.

Formal photo shoots are often high stress events for people and photographers. For every seasoned lead singer or CEO that loves the camera, there are two others who would rather be doing anything else that day. For those people, it's important to provide direction and not leave them feeling awkward or unsure. I try to remove pressure and expectation from them and put it all on myself. I don't enjoy being the subject either, so I empathize.

Recently, you started a documentary series called “Home for Hope”. How did you get involved with the Massachusetts Housing & Shelter Alliance (MHSA)?

MS: I had been searching for the right organization to start a long term documentary project with for a couple of years up until I was introduced to MHSA by a couple of good friends in 2016. My goal was to develop a series that dealt with a serious local issue, such as homelessness, but to approach it in a positive manner with a focus on the depth of human experience, rather than exploiting the desperation of the circumstances that we so commonly see in imagery. MHSA advocates for the transition from short term emergency based systems to longer term solutions as a means for ending homelessness. For example, the "Housing First" philosophy prioritizes moving people back into housing and providing access to appropriate supportive services, rather than leaving people to live on the street while extending minimum, short term aid. I'm drawn to organizations that take a larger picture into consideration, especially when it comes to facilitating real change in the lives of real people.

When I met with Joe Finn, President & Executive Director of MHSA and his fantastic team, we hit it off right away and decided to give it a go. The goal was to create a two-part series: a photo documentary of people in the homes provided to them through MHSA programs, and a second photo series conducted at my studio for a more formal portrait session. It's been a fantastic experience being invited into people's homes, listening to their stories, and being allowed to photograph them in their spaces. We then invited each person along with their case workers to my studio where we took the context of a physical home out of the images, and aimed to capture the individual in their essence. If I capture even a portion of the pride that exudes from my new friends as to what having a home has meant for their journeys, then I consider this project a success. I really love how these images have turned out so far, and I look forward to working with MHSA on an ongoing basis, meeting more amazing people, and helping to share their stories with the world.

The exhibition will be launched publicly at MHSA's upcoming annual meeting in Boston on May 17th at the MHSA and take a look at the excellent work they're involved in here in Massachusetts.

What are some tips/advice you would give to someone just starting out in photography?

MS: Worry more about your craft than your equipment. You can always buy the Hasselblad when you start booking the 5-figure commercial gigs down the road. Until then, keep yourself in control of finances and equipment upgrades, and focus on developing your skills and your voice as a photographer first. It's an ultra competitive market out there, and rising to the top will have much less to do with what's in your bag than what's in your head.

Do you have any openings or special event coming up?

• Somerville Open Studios - May 4-6 at Studio 29r in Somerville (next to Aeronaut Brewery)
• "Homes for Hope" Exhibition - May 17 at Massachusetts Housing & Shelter Alliance Annual Meeting

What do all those paper terms mean?

When looking at digital papers, they always give you these terms and facts about the paper that sound like a whole bunch of jargon. We decided to make a little glossary of these terms to help you out when looking at different brands and paper types:

Just some of our many archival paper options

Acid free symbol

Acid Free: Acid will break down the chemical compounds within paper, resulting in the paper yellowing and becoming brittle. According to the Library of Congress, the more acid present in a paper the faster the aging process happens. This is why it is important to use Acid Free paper for any Fine Art printing, matting, and framing you choose to do.

Alpha Cellulose: Alpha cellulose is a major component of wood, plant and paper pulp. It is separated from the other components of the pulp that are undesirable in fine art papers. The pure white, alpha cellulose is insoluble and is filtered from the solution and washed prior to use in the production of paper. A high percent of alpha cellulose in paper will provide a stable, permanent material. Linen and cotton contain high proportions of alpha cellulose. Alpha cellulose can be isolated from a variety of plants. Manufactures do not usually state from where the alpha cellulose is sourced.

Barium Sulfate: Is the chemical name for “baryta.” A thin layer of barium sulfate is used to coat the paper base of many inkjet and darkroom papers. This coating leaves the paper surface smoother and more even, as well as having at brightening effect (due to barium sulfate’s high whiteness value).  Barium Sulfate coated papers have a unique look and feel, which has been sought out by photographers worldwide.

Rag, Fibre/Fibre, Paper : Are terms that today are virtually interchangeable. At one time, rag meant cotton taken exclusively from cotton rag/cloth/towel remnants. Very few cotton papers are still made from rags. The difference between true rag papers and cotton papers made from linters is that the rags have the longer cotton fibers and the weaving seems to add strength. The symbol of quality is still a paper that is made from 100% cotton rags. That is probably why people prefer to call both cotton linter and cotton rag papers “rag.”

gsm or g/m2: Grams per Square Meter. Literally how many grams a 1-meter x 1-meter sheet of paper will measure in grams. A higher gsm paper will have a heavier and usually thicker feel. Due to difference in materials and manufacturing processes not all papers with the same gsm will have the same thickness.

OBA: Optical Brightening Agents, also known as 'optical brighteners' or UV brighteners, are white or colorless compounds that are added to the printing surfaces of many inkjet papers. Their purpose is to make the papers appear whiter and brighter than they actually are. They achieve this by absorbing ultraviolet (UV) radiation from the ambient lighting and re-emitting it through fluorescence, mainly in the blue portion of the visible spectrum. Consequently, they only work in lighting with a relatively high UV content, such as sunlight, fluorescent lights and halogen lamps. When not illuminated with a sufficient amount of UV light, the color of the paper will appear with its natural creamy or yellowish hue.

All UV brighteners are inherently unstable chemicals. In the process of fluorescence, the absorption of a photon triggers the emission of another photon with a longer wavelength. This transfer of energy comes at a cost: slow changes in the fluorescent chemicals. As these chemicals break down, their ability to fluoresce deteriorates until they will no longer do so. When this happens, the color of the paper will revert to its normal creamy or yellowish hue.

 Giclée: Was adopted by Jack Duganne, a printmaker working at Nash Editions. He wanted a name for the new type of prints they were producing on the Iris printer, a large-format, high-resolution industrial prepress proofing inkjet printer they had adapted for fine-art printing. He was specifically looking for a word that would not have the negative connotations of "inkjet" or "computer generated". It is based on the French word gicleur, the French technical term for an inkjet nozzle. The French verb form gicler meant to spray, spout, or squirt. Duganne settled on the noun giclée, meaning "the thing that got sprayed.”     (In other words, it’s a fancy way to say inkjet print.)

Adobe Bridge vs. Adobe Lightroom

When it comes to organizing your images digitally, there are two main programs that photographers work with: Adobe Bridge and Adobe Lightroom. Deciding which program to use is mostly a matter of preference and of the type of content you make. No matter which one you choose to use, make sure to label and organize your work with a clear system that you will remember.

Adobe Bridge:

Bridge is a great program for viewing your files and seeing all of the information for the files. In Bridge, you can sort the files by different methods as well as see your files under different displays. Another great feature of bridge is its filter settings. You can show just images taken on a single day or even images with the same aspect ratio. Bridge allows for you to mark images and files with star ratings as well as colors that can help organize and filter images as you work. If you have a Mac computer, Bridge is like having a more sophisticated Finder. It is very easy to use, which makes Bridge perfect for anyone. Because it does not have any editing software within it (other than camera raw), Bridge is simply a program for organizing your files. This program is great for photographers who shoot film or designers who need an organizational program that is visual.

Adobe Lightroom:

Lightroom is slightly more complex than Bridge. With Lightroom, you first have to import images into the program; then you can begin to organize and edit. Unlike Bridge, Lightroom has internal editing software. You can select images and make global edits on one image as well as batch editing. You can also create catalogues within Lightroom with images and files of your choice with different tags, keywords, and ratings. Images need to be exported from Lightoom in order to get onto a hard drive or to print. All of the edits and organizing will stay only on the program if you do not export. It is great for digital photographers who do a lot of separate shoots and for commercial photographers who work with batch editing and organizing. This program has more moving parts than Bridge so it takes some practice and maybe even a class to learn all of what Lightroom can offer.

These are just two of the many organizational and editing programs out there. Organization of files is important; You want to know where to be able to find individual images and files easily and conveniently. With these programs, it will make it easy for even the most scattered person to catalogue their files.

Just a reminder: backing up your files on an external hard drive (or multiple drives) is just as important as organization.

How To Properly Store Your Negatives

Keeping your negatives clean.

Make sure to keep your negatives are clean and have no fingerprints, dust, dirt, lint or any other buildup on them. Sometimes getting finger prints or dust on your negatives in unavoidable but if it does happen make sure to clean your negatives carefully before you store them. It might also be helpful to purchase archival white lint-less nylon gloves to handle you film with and a can of dust off compressed air. After you have cleaned you negatives you’ll want to protect them.

After you have cleaned your negatives you’ll want to protect them. Use only archival negative preservers. Other plastic sleeves may be made with materials that could harm your negatives. Some plastic sleeves have a glossy surface and could stick to your negative or cause ferrotyping, which is a kind of glazing which causes density variations during the printing process. Archival quality contains no PVC and are safe for long term storage.

Controlling the temperature and humidity

Since all photographic films contain gelatin as a principle ingredient it is important that negatives stored long term must be kept in low temperatures. The ideal temperature should be between 35F and 55F with a humidity level between 30 and 35 percent. If the humidity falls below 25% your negatives are at risk of becoming brittle and the emulsion cracking. If the humidity is above 60% mold or fungus could form on your negatives. High temperatures and humidity can effect processed negatives. You can also you a dehumidifier or any other ways of reducing the humidity.

Protecting your negatives from light.

Most manufactures sell paper or plastic enclosure and storage boxes designed for film formats. When deciding on what box or enclosure make sure the materials it is made from is archival meaning that it passed the Photographic Activity Test (PAT). The PAT determines if a storage material will cause fading or staining.

College Series: Cover Letters, Resumes, and CVs

The college series is back with another post to help students in the arts with issues relevant to them. Previously we spoke about how to find a job or internship HERE. In this blog post, we are going to talk about writing cover letters, resumes, and CVs, as well as the different uses for each one.

Cover Letters:

Cover letters are your opportunity to talk to the prospective employer in your own voice. Generally, people have the most trouble with cover letters because in order to write a good cover letter, its more than a list of your accomplishments. There are three parts to a cover letter: who you are and what job you are interested in, why you think that you are right for this job, and what you think you can learn from this job and where you think it can go. There is always room to add more information, but a cover letter should not run over a page long (you should probably stay around the half-page to two thirds-page mark). Try to make the writing specific to each company or employer. Address the person to whom the letter will be sent directly rather than using "to whom it may concern" or "dear sir/madam." If you do not know the name of the person, call the company and ask who the letter would be sent to. Do some research on the company and reference what you know about the employer to show that you care about this job opportunity. You can find cover letter templates online that outline placement of addresses and headers, but try not to copy the wording of the template too much. Finally, make sure you proof read your cover letter before sending it out to anyone. Its a simple task that can save you a lot in the long run.

Resumes and CVs:

A copy of my CV from early 2017. it is organized into sections: education, teaching experience, work experience, juried exhibitions, group exhibitions, and publications.

Resumes and CVs are more formal outlines of your accomplishments and previous work experiences. Here, you don't have an opportunity to really talk about what you have learned in the past or what kind of person you are. Resumes and CVs are similar, but not the same. Resumes are slightly more expansive than CVs in wording but do not incorporate the exhibitions and publications that you have been in. On a resume, after listing your education, you have the opportunity to describe your duties at each of your previous jobs. Here you can list your responsibilities and the skills you have from these experiences. You can also list your awards and special skills on a resume. A CV is more artist centered, usually listing the exhibitions, publications, and curatorial experiences you have been part of. You still list your education and employment experience, but when sending out a CV, you are also showing that you are a working artist, curator, or writer. If you are not sure about the layout of a CV or resume, there are plenty of online resources and templates you can download if you cannot make your own.

Good to know:

Something great to remember is to make your cover letter and your resume/CV in the same typeface. It ties the two together as from the same person and two different typefaces can be distracting to the employer. Also, when writing the cover letters and resumes, save a copy as a PDF to send out. Any computer can open a PDF and you never want to send an editable file that could be altered by accident through the employment process.

Cover letters, resumes, and CVs are your first impression to an employer so go out and impress those future employers!

Panopticon Imaging Film Drop Box

We have opened a film drop box at the Panopticon Gallery in Kenmore Square! Located behind the gallery front desk is a mailbox that you can drop off film at any time, even if the gallery staff has gone home for the day! The white metal mailbox locks, so any film you put in there will be safe until someone from Panopticon comes to open it. Stop by Panopticon Gallery 24 hours a day at your convenience to drop off your film!

When you get to the gallery, please fill out your film drop off form and use the waterproof bags provided. Put any information or specific instructions on the film sheet. Once your form is filled out, place your film in the bag, seal, and place your film in the drop box. If your film cannot fit in one bag, split the film between two and fill out one form per bag. Secure your paperwork to your large format film boxes and/or holders with a rubber band.

Are you a student? You get a 15% discount off all processing! Just photocopy or email us your valid student ID to mail@panopticonimaging.com

Pick up and drop off for the film will be on Mondays and Thursdays. On the case of a Monday holiday, pick up and drop off will be moved to Tuesday. If your film is in by 10am on Monday or Thursday, it is guaranteed to be picked up on that day. You may pickup your processed film during business hours only.

If you would like to check on the status of your film, please call Panopticon Imaging at 781-740-1300

Photographing the Supermoon

This past week there was a triple threat moon so we got three of our staff members to shoot the moon in three different ways. On January 30th and January 31st, 2018 the moon was a super moon, a blood moon, and a blue moon all at the same time. Brandon, Bruce, and Nick all put their spins on photographing one of the most photographed night skies of the month.

Brandon:

Brandon Used a Sony A200 with an 18-70mm stock lens. These images were taken near the highest altitudes in Bristol County at 390ft. They were taken at 6:30pm on January 30th, 2018.

Image taken at maximum focal length

Image taken at minimum focal length

Bruce:

Bruce's camera of choice for this was his Canon 5D Mark IV. All of these photographs were taken at f/2.8 with a 200mm lens. He made three images varying in time and location.

This image was taken at Chickatabut in the Blue Hills at 6:05am on January 30th, 2018.

The image below was taken at 9:46am on January 30th, 2018 in Randolph

The final image from Bruce was taken at 5:59am on January 31st, 2018 in Randolph

Nick:

Nick used an iPhone 6 to photograph the supermoon. This photograph was taken at 5:07am on January 31st, 2018 from Quincy Center.

*Bonus Image* Paul:

Paul also took a photograph of the supermoon! It was taken in Weymouth some time in the early morning on January 31st, 2018.

Staff Intro: Brandon Dunning

Brandon Dunning is our newest full-timer here at the company! Brandon started here in early April 2017 helping things run smoothly in the darkroom and moved up to full-time at the begining of 2018.  He was born and raised in Massachusetts and received his Bachelor in Fine Arts in photography from the University of Massachusetts Dartmouth. Prior to working here, Brandon met Nick and Paul, so we knew he was a great fit from the start. He has exhibited at Gallery Kayafas and participated in the Flash Forward Festival Portfolio Review in 2015 where he met our very own Paul. On his days off, he stays active, working out and playing basketball. Before becoming a photographer, he was a painter and printmaker. You can check out his work HERE.

Brandon's work at the moment deals with themes of consumerism and consumer culture theory. He uses site-specific as well as studio shoots in his process. Previously working exclusively digitally, Brandon is now beginning to shoot more film. He recently acquired a Hasselblad 500EL.

Here are some fun facts about Brandon:

• Brandon spends his Sunday mornings with with coffee and jazz
• He loves all of the local sports teams
• He has two wonderful kitties names Lola and Jasper (aka Lolita and Jassie)

Nick's Favorite Framing projects from 2017

As we start the new year I wanted to review some of my favorite framing projects from last year. If you see any framing techniques or styles that you would like to replicate with one of your own pieces, stop on down for a one-on-one framing consultation!

Vintage David Bowie Poster

Hand Painted Kenyan Rug & Pillowcase

A Mark Hamill Signed Star Wars Poster

Stephen Sheffield's Hand Sewn Collage

Andrew Seguin's Cyanotypes for Panopticon Gallery's First Exhibition

A Selection from Newport Art Museum's 'be of love and other stories'

Kat Kiernan: Meet Panopticon Gallery's new Director

A great big welcome to Kat Kiernan! Kat is not only our amazing new gallery director, but she is also to Editor-in-Chief of Don't Take Pictures, a bi-annual publication that discusses modern photography as well as featuring talented artists. In 2015, Kat received the Griffin Museum of Photography's Rising Star award and was named one of Photoboite Agency's 30 women photographers under 30 to watch in 2012. Kat has exhibited across the country and is a widely published writer. She has a BFA in photography from Lesley University College of Art and Design (formerly the Art Institute of Boston).

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You work in many aspects of the art world as the Director of Panopticon Gallery, Editor-in-Chief of Don’t Take Pictures, and as a photographer. How did you become interested in photography, curating, and writing?

Although I haven’t spent a lot of time putting my own work out into the world, everything that I do as a writer and curator stems from my own experiences as a photographer. I published my first article in a national magazine during my senior year of college to accompany my documentary photographs of people who live aboard their boats year-round in Boston. I thought that the magazine would be far more likely to publish my photographs if they were accompanied with an article, so I wrote it myself.

I began curating straight out of art school when I opened The Kiernan Gallery as a venue for photographers who, like me, were just starting to exhibit their work. I later expanded the space to curate solo exhibitions, off-site pop-ups, and other art events.  Don’t Take Pictures evolved from The Kiernan Gallery just before I closed the gallery and moved to New York City. Initially, I wanted to produce an annual that would highlight the best of what we exhibited that year, but I was planning to relocate and wanted to publish something bigger and which was not tied to a specific place.

Now, as the Director of Panopticon, I am incorporating some of what I learned in New York and some of what I learned at The Kiernan Gallery into a more traditional model of representing a small group of photographs while taking a less-traditional approach to engaging with collectors. As a photographer myself, every decision I make in the gallery is based on what I would want and expect from a gallery that represents me.

 

Do you have a favorite non-photographic hobby?

I am not really a hobby kind of person. If I am interested in something, I tend to dive in 100% and turn it into something more. However, for a large portion of my life boating was my hobby and I still jump at the chance to crew a boat whenever I can.

What is one of your favorite exhibitions that you have seen?

I recently saw the Louis Vuitton “Volez, Voguez, Voyagez” exhibition at the American Stock Exchange in New York City. Without question, it is one of the best examples of exhibition design that I have ever seen. Each room felt like stepping onto a film set. This shouldn’t have been a surprise, considering that Louis Vuitton has one of the best visuals teams in the world. I am not as well-versed in fashion as I am in other arts, and the immersiveness of each room taught me a lot about the impact of high fashion on the last hundred years of our culture.

 

Who are your influences in photography, curating, and writing?

Two of the many photographers who have influenced me are Francesca Woodman for her intuitive experimentation with self-portraiture, and Arno Minnkkinen for his dedication to a life-long body of work and for the wonderful mentorship that he has given me. I am also influenced by the photographers that I have the privilege of publishing and exhibiting.

I am also influenced by Alfred Steiglez, a renaissance man who had great vision as a photographer, as the publisher of the first photography journal Camera Work, and a curator of the gallery space 291.

Vicki Goldberg is probably my biggest influence as a writer. Her writing is insightful, original, and covers a range of topics within the photographic medium. It is also very accessible as it is written for everyone, not just the academics.

What is your advice for those who want to start their own publication?

Always hold yourself accountable. A publisher must be accountable to the artists that they publish by making sure that their work is well represented (good quality reproductions, accurate information, correct and well-placed quotes). A publisher must be accountable to their writers by editing with rigor and compassion, and defending them when needed. Most importantly, a publisher must be accountable to the readers to produce the best publication possible.

A lot of magazines start out with ambitious publication schedules and, for various reasons, cannot hold to them. I publish in print twice per year and online about four times per week. As organized as I am, there have been more than a few all-nighters for the next day’s content. Writers and artists will miss deadlines, advertisers won’t pay invoices, and printers will lose proofs. None of your readers should know about any of this, and none should be expected to care. Readers care that their magazine arrives in their mailbox on time with inspiring images and insightful prose. If that doesn’t happen, your reputation as the publisher will suffer. There is no passing the buck, there is only high standards, problem-solving, and accountability.

NEW IN 2018!

We've been busy here at Panopticon adding new services to our roster. Now, we are ready to officially announce all of the new services that we now provide!

Color Film Processing

We are very excited to announce that we are now processing COLOR FILM! Our new processor can develop all formats of C-41 film from 35mm rolls to 8x10 sheet film. Not only are we developing color film, but we are also offering develop and scan as well as develop, scan, and print packages. These new services will be offered with black and white film development as well.  If you want to know more about pricing and film packages, visit our Film Services page.

 

Bulk Negative Scanning

Have developed film you want a quick look at? We now offer roll, strip, slide, and individual film bulk scans. These are great for quick looks at negatives or for making small, medium quality prints. Our Fuji Frontier can scan both black and white and color film as well as positive film! Along with your bulk scans, you will receive free digital file transfer and an 8x10 contact sheet. For more information, visit our Scanning Services page.

 

Bulk Image Scanning

Bulk image scanning is a fast and cost effective way to scan that shoebox of photographs you've had for years. Our scanner can handle images up to 8.5x11 inches so all of those old photographs can be digitally preserved or put onto a DVD included with your order. If you'd like to know more, visit our Scanning Services page.

 

Value Printing

Last but not least, we would like to introduce our value printing services. Value prints are great as test prints to know what to print larger or for little images to give away to clients, friends, and galleries. They are also great for duplicating  or preserving old family photographs. For more information, visit our Digital Services page.

Take a look at our updated services pages on the website or stop by the office to talk in person with one of our staff members about us helping you with all of your photographic needs.

Holiday Framing

Everyone has those prized images from their past or beautiful images of their children or grandchildren. You've got to do them justice and get those memories framed. Framed images make great presents for the holiday season or any other time of year. We here at Panopticon have a huge range of custom and ready made frames for your treasured images.

When you come in to the shop, our staff will be there to work with you through all of the steps of framing an image. First we will help you pick out a frame and mat color and shape that suits your image. Then we will discuss mounting and glass options. Our job is to make sure you love whatever display we come up with. We also work within your budget to make your image look the best that it can without breaking the bank.

Digital Restorations: A gift of a Memory

The holidays are coming up, why not give a one of a kind gift? Really personal and special gifts are difficult to figure out. Imagine what it would be like to give a loved one back a fully digitally restored image. Here at Panopticon Imaging, we can take your old, damaged, or otherwise original images and make fully restored digital copies at almost any size you would like. Not only that, but we can create a beautiful custom framing job for a complete holiday package. Memories may fade, but your photos don't have to.

The process of restoring an image begins with the original. From there, we make a high resolution scan that we then bring into Photoshop and edit until the restoration is complete. Then we make an archival print (or many prints) for you and your family or friends to look at and enjoy for the years to come.

College Series: Looking for a Job or Internship

Welcome back to our college series, where we talk about issues relating to students working towards a degree in the arts. In this post, we will discuss the process of finding a job or internship while you are still in school.

While in school, most students need a job to help pay for tuition, rent, or food. You can get any job that's not in your field and it will pay, which is great. But, sometimes you want a job in your field that can not only help pay the bills but also teach you skills relating to your degree and your future career. Don't expect to find something great right away. There's a lot of searching and resumes to be sent out. Look for small entry level positions that might even be part time. When looking, try to find something that you already have some knowledge about but want to learn more. This can be further explained in a cover letter letting the possible employer know that you are a student who will work hard and actually wants to learn. Over time, these part time, assistant-like, jobs can grow, as long as you work for it.

In addition to jobs, most college students need internships. Some schools require them to graduate and others just suggest them. Internships are often slightly easier to find than jobs because most of the time, they are unpaid. But, while they might be unpaid, you are probably going to learn a lot that will help you get a job in the future. Don't just chose any old internship to graduate, really search and find something that you are genuinely interested in. If a place doesn't advertise internships, there's no harm in sending an email asking if they would be open to having an intern.

Looking for jobs and internships is often overwhelming and stressful. Many colleges have career centers that have information about places that other students have worked. Ask your friends and teachers about any open positions they hear about. There are also great resources online that allow you to put in criteria for the type of job that you would like. Hireculture is a great website that lists hundreds of creative jobs and internships in Massachusetts. There is also Indeed, which is a national database that lets you put in keywords as well as your location to find both jobs and internships in any field.

You might not find your dream job right away, but once you get your foot in the door of the arts related job market, and you can build up from there.

Staff's favorite films

 Cinematography can make or break the impact of a movie, just as composition and lighting affect the impact of a photograph. Film making and photography are linked and one has an ability to have a great influence over the other. We love films here at Panopticon and have decided to share some of our favorites with you. Here is a list of each staff member's favorite films based on cinematography:

Brandon:

• The Royal Tenenbaums - cinematography by: Robert Yeoman
• The Darjeeling Limited - cinematography by: Robert Yeoman
• The Big Lebowski - cinematography by: Roger Deakins
• Kill Bill - cinematography by: Robert Richardson
• Apocalypse Now - cinematography by: Vittorio Storaro
• The Color Of Money - cinematography by: Michael Ballhaus

Bruce:

• Liebestraum - cinematography by:  Juan Ruiz Anchía
• Touch of Evil - cinematography by:  Russell Metty
• The Manchurian Candidate - cinematography by: Lionel Lindon
• The Revenant - cinematography by:  Emmanuel Lubezki
• Godfather trilogy - cinematography by: Gordan Willis
• Candy Mountain - cinematography by: Pio Corradi
• Legend - cinematography by: Alex Thomson
• Apocalypse Now - cinematography by: Vittorio Storaro

Chris:

• War Dance - cinematography by: Sean Fine
• The Revenant - cinematography by:  Emmanuel Lubezki
• Ex Machina - cinematography by: Rob Hardey
• Interstellar - cinematography by: Hoyte Van Hoytema
• Inception - cinematography by: Wally Pfister
• Lord of the Rings trilogy - cinematography by: Andrew Lesnie
• The Matrix - cinematography by: Bill Pope

 

Nick:

• Blade Runner - cinematography by: Jordan Cronenweth
• The Social Network - cinematography by: Jeff Cronenweth
• Drive - cinematography by: Newton Thomas Sigel
• Se7en - cinematography by: Darius Khondji
• Melancholia - cinematography by: Manuel Alberto Claro
• Requiem for a Dream - cinematography by: Matthew Libatique

 

Shannon:

• Twin Peaks - cinematography by: Ronald Víctor García
• Frida - cinematography by: Rodrigo Prieto
• Man on Fire - cinematography by: Paul Cameron
• The Royal Tenenbaums - cinematography by: Robert Yeoman
• Big Fish - cinematography by: Philippe Rousselot

Sloane:

• Upstream Color - cinematography by: Shane Carruth
• The Bothersome Man - cinematography by: John Christian Rosenlund
• Antichrist - cinematography by: Anthony Dod Mantle
• Only God Forgives - cinematography by: Larry Smith
• Electrick Children - cinematography by: Mattias Troelstrup
• Martha Marcy May Marline - cinematography by: Jody Lee Lipes
• Se7en - cinematography by: Darius Khondji
• Pan's Labyrinth - cinematography by: Guillermo Navarro
• Gone Girl - cinematography by: Jeff Cronenweth

Choosing the Right digital Paper for You

Last year, we came out with a blog post about the different digital papers that you can read HERE. Now, we are going to go a little more in depth on the most popular papers that we use and what they are used for so you can decide which works best for your images.

Matte Papers:

Epson hot press natural:

Hot Press Natural is a matte paper that we use very often here at Panopticon. It is a cotton rag paper with a smooth finish. Because it does not contain added brighteners, the paper has a warmer, natural tone rather than a bright white.

This paper is good for warmer black and white or sepia toned images. Colors are slightly less vibrant and more natural which holds up over time. Hot Press Natural has a wider tonal range than some other matte papers that we have come across.

 

 

 

Canson Rag Photographique:

With Canson Rag Photographique there are two weights: 210gsm and 310gsm. If you are looking for a fine art exhibition print, make sure you get the 310gsm. The lower weight paper is great for test prints. This is a bright white cotton rag paper that is also archival. The smooth surface is quick drying and has a higher water resistance than other papers to protect the image from damage.

Rag Photographique holds color very well and is great for making vibrant matte prints. If your image has a lot of blues, this is the paper for you because it holds a wide range of blue tones.

 

 

Glossy papers:

Canson Platine fibre rag:

Platine is a cotton rag paper with a smooth, lustrous surface. Sometimes, the paper flakes at the edges when cut, but if you use a fresh blade, there should not be any problems. This true bright white paper does not contain any brighteners that can affect the longevity of the image. Because Platine is a luster paper, the blacks maintain much of their detail from screen to print.

Platine is great for both color and black and white images that don't call for a very glossy paper, but want some vibrancy and life.

 

Canson Baryta:

Baryta is very much like Platine in its level of gloss, but has more stiffness. It is another smooth cotton rag paper but it has a slightly warmer tone than Platine. This paper has great sharpness and has great density in the blacks. Baryta has a slight amount of brightener that makes it 99.1% white. It also dries very quickly and has a high water resistance to protect from damage.

Baryta is great for almost everything. It has the same finish as silver gelatin fibre paper so blacks look great and colors have a wide tonal range.

College Series: What to Spend Your Money On

Its back to school time and we have decided to introduce a college series on the blog. In this series we will discuss issues related to students who are interested in photography and the arts. Welcome to the first of the series: What to Spend Your Money On!

You are in college, You are strapped for cash, but you need some gear and some software in order to make work. Well first off, you are in luck. Most colleges with art/ photo programs, have a "cage" or "lockup". These are places that you can visit to "rent" or check out/ barrow equipment from. You usually need to be enrolled in a related class to have access so check with your school for their particular policy.  That said, these places are great and usually filled with cameras, lenses, tripods and various other gear that you might want to try out. While you can, rent everything and save your money,  don't buy anything you don't absolutely have to. If your college does not have a place to rent items, you can always try to borrow as much as you can from your friends or classmates. Remember you can do a lot with a little!

Freshman year, you shouldn't commit to a camera or equipment that you might grow out of or realize isn't for you. Your first year is a time of learning and exploration. During this time you will be figuring out what you like and what works for you. "Renting" and or borrowing equipment is the best way to try out different things without losing your money.  In most programs there is usually a computer lab staffed by upperclassmen / work study students who are there to help with any questions you might have. These computers labs are usually restricted access like the "lock ups" and are a great resource.  They should have all the software you need so there is no need to pay for a license either.  The message here is just don't spend your money.

Another thing that many students worry about is the cost of printing and framing work. In the beginning, don't bother spending money  printing on fancy papers. Use inexpensive paper to make smaller work prints. Until your work calls for larger sizes, there is no reason to shell out your hard earned money. If you get into a show and need to frame something, simple is usually best. Ask around. The people at the photo "cage" and your instructors will have some recommendations on places that will have what you need, either for do it yourself or full service framing. Don't be afraid to ask if they have  a student discount. We here at Panopticon have a 15% discount with valid current student ID.

So, if you really want to purchase your own gear and software; make sure you will use them. Think of the 80/20 rule. Will you use it 80% of the time or 20% or the time? Do not buy it if you will only use it under special circumstances or just for one project. Most gear, if treated right, will last you a long time, take care of it and it will take care of you. If you feel you must purchase something, make sure you have tried it out for a while before you purchase. If your school doesn't have something there are  brick and mortar and on line rental houses that probably do. They often have a weekend deal on rentals. Usually if you pick up on Friday and return Monday they don't charge for Sunday. Now with these places you are spending some money. This can be a good investment what if that piece of specialty gear just wasn't what you expected? or that camera really didn't make the images you wanted? some money spent but more saved.

What if it was all that and you have to have it? Well the used market is the place to start. Again ask around at your school. Chances are some one has something they bought and no longer need. If not those same instructors and "cage" staff know of the local or on line camera dealer where you can pick up what you need with a warranty at a fraction of the cost for new. Oh and those rental houses, they often are selling off gear they don't need any more some give them a look as well. Remember in a few years you might be the one putting up flyers to sell that piece of gear you needed so badly. It happens, what you thought you would be doing for the rest of your life in freshman year might be very different from what you are doing in your senior year. This is what college is for figuring all this out, finding what it is you want to do and growing as an artist and person.

Our best advice is to save your money for food, rent, and / or experiences that you would like to have in your college years before you graduate and lose access to all the wonderful things in the "lock up/Cage" for ever. Rent before you buy, and buy used from a reputable dealer if you do decide to buy. That and make lots of work!

How To Apply to a Call For Entry

We've all wondered about applying to shows and calls for work at one point. I'm here to give you some tips and tricks when you see a call for entry.

First, you have to find a call that looks right for you and your work. Instagram and Facebook are great places to find calls and shows. If you are an college student, I know you're short on cash so don't apply to everything you come across. Your work is still growing and changing so look for calls specifically for undergraduate or graduate students. Start following local museums, galleries, and publications on social media so you see the calls when they first come out. You can also see what these institutions are up to when there aren't calls for work. There are also websites that act as great resources to find calls not just locally, but nationally or even internationally. Lenscratch.com has a call for entry page that lists calls, important dates, and information about each call for entry. Another website is CaFÉ (callforentry.org) which contains a massive database of active calls including residencies, grants, public art pieces, and shows covering all mediums of art. These are just a couple of the many places online you can find lists of shows that are looking for entries.

Once you find a show that looks right for you, make sure to CAREFULLY read all of the submission guidelines. The show might have a specific eligibility or might require certain file types. You might have to title your files or submit through a third party. Most calls also require a fee for entry. The bigger the show, the higher the fee. If you are just starting out, there are plenty of $15-$25 calls that you can find so that you do not spend too much in the beginning. Following the guidelines are the first and one of the most important things when applying to shows. You don't want to be disqualified from the show without your work being considered.

Once you have your show and have read all of the guidelines it is time to pick the work that you would like to submit. Select your work that goes best with the theme of the show, and not just work that you like. Some shows are completely open or call for completed portfolios. With these calls, compile the pieces that best represent the entire portfolio if you cannot submit the whole body of work. Double check that your files are the correct size and resolution for the submission If it is a print submission, make your prints with enough time to ship or bring your work to the location. DO NOT wait until the last day to send your work in! There is nothing explicitly wrong with it, but you want the juror to know that you are seriously interested and care about the show.

If you are looking for a great portfolio show to submit to, check out Panopticon Gallery's First Look 2017. The submission deadline is November 8th, 2017.

Good luck and submit to everything! The more work you send out to the world, the more likely you'll get something.