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

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.

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.

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.

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.

Which Digital Camera is Right for You?

When in the market for a new camera, most people don't know where to start. Many people purchase cameras beyond what they need because they think the more expensive the camera, the better it is. If you want a camera for family vacations, you wouldn't buy the same camera that you would use to professionally shoot weddings. This post will give a brief outline of the tree tiers of cameras that you can purchase and what each type is best for.

The first type of camera is the one that you would buy for your children, your grandparents, or for everyday events that you would like to capture. These are point-and-shoot cameras. They are mostly automated but you can choose settings like portrait, night, sport, and optical effect modes. This type of camera is a step up from your phone camera, so your Facebook uploads will look great. Point-and-shoots run anywhere from $50-$250 and are small in your hand with very easy to use settings. If this is the type of camera you are interested in, check out the Canon Powershot ELPH 180.

If you would like to go a little higher in quality and complexity, the $250-$800 range might be for you. This group of cameras are known as digital single lens reflex or DSLRs. DSLRs give you more control over the image settings and are great for those who are interested in leaning more about photography or for web based media. In the manual mode, you have full control over the shutter speed, aperture, and ISO. DSLRs also have removable lenses so you can chose any lens you want that fits the mount. Many of these cameras also record video in high definition. Although this type of camera is a higher quality than the first, files from these cameras cannot print much larger than 16x20 inches. If this is what you are looking for, the Canon EOS Rebel T6 might be for you.

For a professional quality camera, this is a case of spending more to get more. They can range from $800 to almost $4,000 (and then there are the medium format digital cameras that can be up to $45,000). Though, after a certain level, nothing changes. These cameras come with full control over your image, both in making the picture and its output. They create the highest quality files that are great for fine art photographs, professional commercial photographs and for large print based mediums. These DSLRs are for photographers who are already experienced with cameras and and how they function and would like an upgrade. The Canon EOS 5D Mark IV could be yours if you would like a professional level camera.

Recently, mirrorless digital cameras have become popular. They can run from $800 to $2,500 on the highest end. These cameras have all of the same settings as the high quality DSLRs but with smaller and lighter frames. The body looks like that of a 35mm film camera. Mirrorless cameras rely on a viewfinder for focusing which can be a turn off for some people, but preferable for others. If you are looking for one of these cameras, check out the Fujufilm x100F.

As always, the best camera is the one you have with you. You don't need a $3,000 camera to make great images, so just go with what you got and make some work!

**This post is not sponsored by any company. It is just some recommendations from our staff.**

Flying with Film

Mr Whiskey Photo assistant and packing consultant extrodinaire 

So with my upcoming trip out to Anderson Ranch I realized I was going to be flying with a bunch of film. Normally I prefer to drive places so I can make photos along the way. The Journey being as important as The Destination. This go around I’m a bit time bankrupt and the distance is great enough to warrant a flight. This brings into play a whole set of variables.You see with a 2002 Crown Victoria I can fit an amazing amount of stuff. But right now I’m limited to a carry on in the overhead and one that will fit under the seat of the plane….

So some choices have to be made.

First off I’m bringing the Canon 5dmk3 for ease of use and instant feedback during the workshop. 3 lenses 3 batteries 4 sets of cards and a flash round out that kit. I know a zoom takes up less room than 3 primes. It’s just that I don’t work that way. Primes just fit my way of working. My second choice is the tried and true Mamiya 7II with a 65mm and a 80mm.

I chose this camera because it makes roughly the same aspect ratio as my 4x5.It has a leaf shutter for faster flash sync speeds and it has a much smaller profile.That and a few odds and ends round out my back pack bag..

Why the added expense and hassle of working with film? That’s a much longer post for a different time.

So now that I’m mostly packed I need to worry about 2 other essential items.

A tripod and some film. The tripod is the easy one, I’m going to use a smaller one with a ball head and stuff it in my suitcase.I won’t have as much room for underwear and socks but there is laundry available where I’m going so that should be fine.If I wanted one of the bigger ones for use with a bigger camera I could always ship it to my destination and ship it back when done but that’s just not practical right now.

Now onto the 2nd and biggest essential.

FILM. In particular Kodak Portra 400 120.

Freezer bag with label and some emulsion choices.

After some online research, to see if anything has changed in the last few years. Not much has. Kodak tells us that film rated at 800iso is fine for one pass through the current X-ray machines. That means 400iso is good for 2, 160iso for 3.Maybe. That information only applies to the personal screening machines, checked bags get a WAY BIGGER dose of X-rays. Never and I mean NEVER put film in a checked bag. As an aside,never travel with film loaded in a camera, remember the camera is going to be X-rayed, also there is a chance that the film back might be opened by a screener, and there goes your film…

There are no direct flights from Boston to Aspen I’m going to be making a couple of hops. If worse comes to worst my film will get the Zap two times. Not the end of the world but not ideal and I’m not cool with that. I’m going through all the trouble to work with film I don't want it damaged. Fortune favors the prepared!

What I need to do is put all my unexposed rolls in a clear plastic freezer bag that is marked “unexposed film” and ask to have it hand checked. Nicely and with the confidence that this is how it’s done. Because this is how we travel by air with film. I shouldn’t have to tell you that you should be nice,like me Ma always said, “be nice on purpose.”

Do not use the old shielded bags they used to use for film. If an X-ray screener can't see through them they just turn up the power until they can, effectively rendering them useless.The reason I like the freezer bag is they are tougher then sandwich bags, they have a hardier zipper and they also usually have a little panel you can write on with a sharpie.I label almost everything, it makes finding things in a hurry easier. A well labeled bag that is easily accessible saves the screener time. I don’t know about you but when I run into an organized and prepared person at work I’m more then willing to go out of my way to help them out. They took the time to think about my time and its value. Be that person

Everything you need plus somethings you don't! but you'll need it if you don't bring it.

That brings me to getting to the airport early. Being respectful of other people’s time and allowing yourself enough time to deal with being a special case is important. Worse case you just make your flight, best case you have extra time to buy an overpriced beer while waiting for that flight.

Lastly mark your exposed rolls and keep them in a separate freezer bag. Still easily accessible along with the unexposed rolls just separate. I had to compromise with a screener once where they hand inspected my exposed film and xrayed the unexposed. Yup it came down to that. Exposed film is more sensitive so it was more important to me,the unexposed got marked and then used in the holga because that’s my happy accident camera, I’m already throwing the dice so why not a little more chance?

So clear plastic bag, labeled and readily accessible. Smile, be polite and GET THERE EARLY. Make sense? I hope so,here is a handy link to the tech Support articles from Kodak.

http://www.kodak.com/US/en/motion/Support/Technical_Information/Transportation/index.htm

One from Fujifilmusa

http://www.fujifilmusa.com/support/ServiceSupportProductContent.do?dbid=670359&prodcat=238119&sscucatid=664277

And one from Ilford.

https://www.ilfordphoto.com/faqs

Art Reproductions

Have you ever wanted a reproduction of an original print or painting? We can make a photographic print that looks exactly like it! Through color matching techniques, we can make you an archival reproduction that can be sold as digital editions, given as gifts, put on display, or kept as copies in place of the original print or painting.

This method is great for any painter, printmaker, or traditional photographer who wants to recreate an original. It is also helpful for people who have darkroom prints that they would like to digitize without the negative present or to reproduce a print but cannot quite seem to do it the same way again.

Here are some of the steps we take to color match original paintings, prints, and documents:

·      Scan or photograph the original at a high quality with the best, even light you can get. If the image is too big, we might have to make more than one scan or photograph that we later stitch together in Photoshop.

·      Upload the image into Photoshop and begin correcting the file to make it look closer to the original. This includes cropping out parts of the file that are not the image and sizing the image correctly.

·      Make lots and lots of TEST STRIPS! Test strips allow us to compare the printed reproduction to the original. We carefully compare the test strip to the original to see what parts of the image we need to adjust.

o   We make sure to keep all of the test strips to track the progression.

·      Once the test strips match the original painting or print, we make the full size printed reproduction!

New Bedford Dockside by Jim Earl

Check his work out HERE

Fox by Mary Gilmartin

If you are interested in this service, please call, email, or stop by the shop and we can make you a beautiful digital reproduction!

Calibration

With the digital age we are in, we are constantly looking at photographs on screens. While computers and the internet make sharing our photographs much easier, it also means no one is seeing the exact same thing as you are on your screen.  The brightness and colors can range from monitor to monitor, which can also completely throw off your print matching. Usually monitors right out of the box are too bright and have a default color profile, which can be fixed with calibrators. And then there are the Ferraris of monitors that have their own calibration system built in! Properly profiling and calibrating your monitors will give you reduce editing time and a more realistic no-surprises representation of final print.

At the office we go the extra step and have our printers calibrated to our monitors, so what you see is what you get! If you ever want to view your images on our screens before we print we are happy to set up a time for you to do that or if you are not local we can send you test prints to see what we see.

Things we DO recommend:

• Eizo monitors
• NEC monitors (spectra view series)
• Spyder calibration systems
• i1 Display Pro Calibration
• calibrating your screen monthly

Things we do NOT recommend:

• editing on a laptop
• editing on an iMac
• keeping your brightness to your screen turned up too high

The common file formats

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JPEG

JPEG stands for Joint Photographic Experts Group and is named after the committee that created it in 1986.

It is not as sharp out of the camera as TIFF or RAW modes, and every time the JPEG is manipulated more than once or twice, it will eventually become unusable. Every time the JPEG image is modified and resaved, it will lose more data.

Once compressed in JPEG format an image cannot be uncompressed (you cannot regain the original quality). This is why the original photo (your digital negative) should be taken with as little compression as possible.

When to use:

-       emailing

-       posting to the web

When NOT to use:

-       Printing (while we can use jpeg files for printing we would prefer a larger file in the form of a tiff or PSD, if the jpeg is compressed to heavily we do not recommend printing with it at all)

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TIFF

TIFF stands for Tag Image File Format.

Tifs have a high image quality and is supported by many image-manipulation programs such as PhotoShop, Pagemaker, QuarkXPress, Adobe InDesign, Paint Shop Pro, etc.  You can have layers in photoshop when you safe with a tif and it can be modified and resaved, with the images being used an endless number of times without throwing away any image data.

When to use:

-       Printing

-       Editing in programs

-       Saving master files

-       Publishing

When NOT to use:

-       Emailing

-       Posting to web

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RAW

The RAW mode is a picture format where the camera has made absolutely no changes; the files are not yet processed or ready to use with an editor, etc.

Its advantages are that a huge amount of control over the final look of the image is yours. Additionally, all original details stays in the image for any and all future processing needs.

The general rule is to shoot your images with the highest setting that your camera will allow (largest image size in terms of pixels, lowest compression – usually large/superfine).

When to use:

-       While shooting

When NOT to use:

-       Emailing

-       Posting to web

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Making a Negative from a Cell Phone

Pretty much everyone now a days has a smartphone. It seems like every time you turn around there is a new and improved cell phone being offered. With the increase of smartphones comes the controversy of phone photography, is it fine art? Should it be used professionally by photographers? All of these questions aside, a camera is a camera and if you want to shoot with it we say go for it! We even have options for you. Recently we created a LVT Negative from a digital file shot with an iPhone SE and then printed a 16x20 fiber print in the darkroom. Here is how we did it:

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STEP 1:

Download the file at FULL SIZE to the computer and import into Photoshop. We made all adjustments here (cropping, levels, curves, dodging/burning, etc.) It is important to make the image in Photoshop the way you want the darkroom print to look. If you know you want a certain area in your image to be brighter make that adjustment now in Photoshop. It will save time and frustration later on in the darkroom!

Our print ready file:

STEP 2:

Because our machines take 8x10 film, we can put multiple images on one sheet of film. We can do the same image a few times (with different contrasts for printing) or we can pick completely different images to be on the same sheet of film. It also depends what size you want your negatives to be. If you only have a 35mm enlarger there is no sense in making a medium format negative! We can either prep the LVT file for you or we can send you the specs and you can prepare the file on your own and send it our way to be made.

For this example we made both roughly 35mm negatives as well as medium format sized negatives:

STEP 3:

Get in the darkroom! We used the 35mm sized negative and made a 16x20 fiber based print. We were able to hold detail and tone in the print while maintaining the sharpness . A note about using camera phone files: just like all cameras the higher resolution and bigger files you have to start with the better the output will be. Thankfully the camera phones keep going up in megapixels which makes the photographs higher quality to work with.

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If you are interested in this process and have questions please call the office (781-740-1300) we would love to help walk you through it.

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CALL FOR ENTRIES: WHY DIDN'T I GET INTO THE SHOW?

Have you applied to a call for entries and your artwork was not selected? One of the many questions you ask yourself is why? What was the reason or reasons why your work was not selected? We decided to ask several Curators and Gallerists what happens during the selection process.  Hopefully this will give you some insight into the jury process and help you plan for submitting in the future.

Paula Tognarelli - Griffin Museum of Photography

"I jury many exhibitions in the course of a year. Because of my experience I wanted to share just why artists are not accepted into exhibitions. I know the first inclination is to feel rejected when one receives the note that he or she didn’t get into an exhibit. There is more than meets the eye to the process of choosing images for exhibition. Before jumping to conclusions about your skill and talent try putting yourself in the shoes of the juror.

More than likely the juror has to choose a limited number of images for exhibition to fit in the exhibition space. Usually I am looking at 1000 (and sometimes 5 times that) image submissions and am tasked with choosing 20 to 50 photographs for the wall. Definitely there will be images the juror loves that have to go. I have found that usually in my first pass of choosing images that I respond to, I cull down imagery to about a third of what was submitted. My next pass is to look for images that speak to each other and I begin to form a narrative. It is very difficult to start a narrative over once it has begun. So sometimes it depends on what else is submitted that keeps your image out of the mix. For some (and that includes me) it is about the body of work and not the singular images.

Recently I did an experiment during the juried exhibition for the Griffin. The juror chose 60 images for the show and I went in after and built 3 shows from the remaining images. The fourth grouping I put together was weak. The second and third exhibits assembled were strong as anything and I would have been proud to showcase those two exhibits. Was the fourth exhibit weak because of a singular imagery? No, they were weak because the relationships just weren’t there.

Another reason your image may not make the cut into an exhibition may be that it doesn’t jive with the aesthetic of the juror. Another day and another juror will bring other results. So don’t give up.

Keep in mind that your submissions are not for nothing, even if you don’t get in to the show. It is an opportunity to get your work in front of the juror. Someday that will make a difference and an opportunity will rise.

There is one other reason why one doesn’t get into an exhibit. It has to do with craft. Is the photograph composed well? Is the subject of interest? Did your submissions show the maturity of your work in the edit you provided? Have you technically produced the best possible print you can?  If you can’t do this yourself then do not hesitate to find a printer that can do this for you."

Kat Kiernan – Don’t take Pictures

“I have been on many sides of the juried exhibition as an artist, a juror, and the administrator of juried shows. It is always disappointing to not be selected for an exhibition, but I think that some of the sting could be taken out of that disappointment if artists were more aware of the restrictions placed on jurors. The juror's job is to form a cohesive and thoughtful exhibition. For thematic exhibitions, jurors have to make tough decisions to exclude work that does not fit with their interpretation of the theme. Thematic shows are not "greatest hits" exhibitions and in my experience, similar subject matter means tough choices for the juror. Let's say that for a show about "flight" there are five submitted photographs of hot air balloons. They might all fit the theme and be excellent photographs, but the juror feels that only one or two hot air balloon photographs would be appropriate for the show.  For exhibitions that are juried by a group rather than an individual, the selection process can become a game of averages. If each juror likes a piece it will likely be included in the show, but if one juror loves a piece and another juror is adamant about not including it, the selection process can result in a number of compromises. Logistical restrictions vary by venue, but the most common is a limit on the number of pieces that can be hung in the space. My advice for entering juried shows is to think carefully about whether the exhibition is juried by an individual or a group, whether your work is really a good fit for the theme, and to remember that there are many factors beyond the quality of work that might result in not being selected."

Arlette Kayakas – Gallery Kayafas

“When I am asked to jury an exhibit, I prefer that it is blind because I don't want to be influenced by knowing someone... I just want to respond to the work. I divide the work into 3 groups: no, maybe, yes. (the "yes" group, of course, are my favorites!)

After I've looked through the images at least 4 times to get these categories…I start to lay out the work to sequence a strong show.  It's during this step that my selections may change.  I want the strongest exhibit possible so I will go back to the "maybes" if needed and replace some of the "Yeses".  Juried shows are often without a theme so sequencing is extremely important so it will all make sense.

I find it extremely rude that after putting together the exhibit and then meeting the artists at the opening that I am always asked "Why didn't you pick my work?"  It’s obvious I didn't pick the work because it didn't fit or meet my criteria. “

Image Courtesy Silke Haas

Francine Weiss - Newport Art Museum

"Decisions about art work are highly subjective. Whether or not someone likes your work is subjective, and then there is also the fact that the reviewer or juror may love your work but not have a slot in their space or scheduled to exhibit it. It may also be that your work doesn't fit precisely with the theme of the show that that person is curating. So you can't take it to personally. But what I can offer in terms of advice for submitting to juried shows or sharing work with portfolio reviewers is: To present works that reflect a cohesive and clear vision or message and choose images carefully to support it. Sometimes when I jury, I find myself confused because I may be looking at 8 prints from the same series, but they appear unrelated. I think sometimes people want to submit their strongest prints, but they might be showing 8 really strong statements that don't fit together. It might be better to choose 5 strong images and 3 that help tell the story even if they're not all singularly compelling. Essentially, when you show your work to someone, particularly for the first time, you are a storyteller. And people like stories, so tell that story in a clear and engaging fashion! In approaching your work in this fashion, you also demonstrate that you know what you're doing and why and can relate to others-- always a plus."

Jason Landry - Former Director - Panopticon Gallery of Photography

“Instances vary from my perspective. I look at thousands of photographs each year at portfolio review events, art fairs, through various emails and marketing materials that that I receive from artists, and through emerging artists that I mentor. The three main things that I look for is:

1.) Does the photographs fit into a theme or an idea for an upcoming show that I might be curating?

2.) How well do the prints look?

3.) How unique is the artist’s vision?

As a gallery owner, I am the one who comes up with the themes for the exhibitions. That being said, I usually keep a running list of ideas known only to myself. If I see work at an portfolio review event, art fair, or if someone tells me about a particular artist whose work fits in with my themes, I will keep their info in a spreadsheet based on the type of work that they make. That way, when I have enough artists who make work that fit into my theme, then I will contact them and schedule the show.

As for prints, I scrutinize print quality both from a gallery owner and collector’s perspective. The artists need to know how to print. I cannot chance putting up a bad gelatin silver print or digital print next to someone else in the gallery who is a master printer. Collectors know good from bad, and if they see poorly produced art, they won’t come back to the gallery, and they will not buy your work, and neither will I. If I don’t think a print is up to my standards, I usually suggest that they contact my friends at Panopticon Imaging to assist them.

Lastly, collectors have a discerning eye when it comes to acquiring art––and gallery owners know that. They want to see unique photographs––things that they have never seen before. Now, we all know that in this day and age, that is pretty impossible, but sometimes you’ll find that needle in a haystack and you’ll want to include it into a show as soon as possible. Photographers. . . . . . .think outside of the frame.

Francis Jakubek - Bruce Silverstein Gallery

"Building a show is like writing an essay; certain photographs form sentences while others create tangents when viewed together. Starting with a pool of (typically) over 500 images, my process is to make pairings of images and witness the story change as new images are introduced. Jurying a show does not always mean the juror selects their personal favorites; there have been times where I've purchased prints that did not get awards or make the final cut for the exhibition."

Jessica Roscio - Danforth Art Museum

"It was incredibly exciting to have the opportunity to jury our Danforth Art Annual last summer.  Due to changes in the structure of the exhibition (we combined two exhibitions into one); the show was about half the size of previous years.  We generally have almost 500 on-line applications, and each artist can submit up to three works, so jurying is a daunting process.  I was proud of every work in the exhibition, but there were plenty of entries that I couldn’t take, but wanted to.  Instead, I made note of the artist for the future (our juried exhibition is a blind jury, so this happened after choices were made, once I could see the names associated with each application).  Our juried exhibition takes place in a finite number of galleries, and as you start to review applications, certain themes emerge, and the show starts to form.  Groupings for each gallery start to come together before the works arrive.  Trying to create a cohesive juried exhibition means that some works, no matter how accomplished and innovative, end up not fitting into the exhibition structure.  A juror wants to be sure that each work in an exhibition stands on its own, and has plenty of room to breathe, but it also needs to compliment the works around it.  However, it is imperative to remain sensitive to the fact that when an artist submits their work to a juried exhibition they are putting themselves out there, and sharing their work with you, and it is a privilege to be a part of that process. "

Artist Spotlight: Heather Hobler

Heather Hobler came into the office a year ago when she started photographing her backyard seascapes. Keeping her tripod in the same location, she shoots color negative film during different times of the day. Each print holds luscious colors ranging from cool blues to warm sunsets. The meditative quality of her images invites the viewer to linger and explore every seashell and wave.

• What is your earliest memory of art?

HH: A large dark abstract Grace Hartigan Wedding Dress painting. This painting hung innocently on
my great-aunt Francis’s dining room wall in an old whalers home in Mattapoisett. It was among
a Joseph Cornell Shadow Box, a Rembrandt etching, a Picasso scarf and many more hidden
treasures. These were true works of art living an ordinary life among the wallpaper and salt air.
Francis lived and worked in NYC in the world of art and museums. She took the train up for
holidays and weekends. Certainly quite exotic to my small town girlhood.

And along with these examples of high art I grew up in a house that my father and mother built
from the foundation up, sailed on boats that my father and brother built, wore handmade wool
garments from both grandmothers and mother, ate from the gardens of my grandfather, have a
handmade doll my sister made me.

In each object, aesthetics and use played equally important roles. What makes art “art” has
always intrigued me.

• What is your background? Did you go to school for photography?

HH: I went to both SMFA Boston and Tufts University, finishing with a BFA from Tufts in my 20’s and
then back to get my certificate from SMFA in my 30’s. In my 20’s I studied film, video and
drawing and in my 30’s mostly painting and drawing. I have no formal training in photography.

• Tell us about your current body of work and the exhibition at the Dedee Shattuck Gallery.

HH: This all started innocently as snapshots and quickly built into a reflective rhythmic journalistic
ritual. Taken from the same place daily and most often multiple times per day I stand facing
south over Buzzards Bay to document the pageant that is my front yard. As this work grows so
does my interest and dedication to what I feel is my most successful body of work.

“The adventure of the sun is the great natural drama by which we live” -Henry Benson, The
Outermost House

I had cancer 8 years ago, and it changed my life (of course and so what), and so too it changed
my belief in the validity of my art making. It was in the building of this collection it became
obvious this was a continuation and distillation of my art. Concepts of systems, comparisons,
suggestions of what came before, the play of edge-to-frame and the basic question of “what is
art?” have always been my concern.

Varying from colorfield paintings to romantic photorealism to pure abstraction, this work plays
with the formalism of the square and the minimalism of a controlled composition. This work is
both poignant and potent as they also engage in the contemporary issues of climate change,
the incessant barrage information and the dwindling amount of natural space. These, too, are a
nod to my 30 year devotion to yoga and meditation. and so the name where lines meet.

• Throughout the exhibition you will be having interaction days of conversation & contemplation, yoga, and evening talks. How do you plan to work these events into the
  exhibition? What made you decide to do the interactions?

HH: These photographs together as a unit, a collection, a study, each and every time thrill and bore
me, equally. Kinda like, so what? so, so what? or who cares? so, who cares? So selfishly, I want
to discuss that play/work that we do to make sense of what makes us who we are. This is a
project because of just that: I do not have fully formed ideas around these photographs and
look to explore thru interactions. With where lines meet I will be in the space during all
opening hours inviting people in from all supports and interests of my life for contemplation,
conversation and community. Events range from Wednesday evening talks, Thursday and
Sunday yoga and Saturday suppers. I look to make this more than a purely aesthetic
experience.

• What artists influence you and how do they influence your thinking, creating and career path?

HH: Colorfield painters, Morris Louis, Helen Frankenthaler, Abstract Expressionists Rothko,
Rauschenberg, to more contemporary and conceptual artists Gary Hume, Richard Prince, Hiroshi
Sugimoto, Doug Aitken, Lisa Yuskavage. I believe all of the mentioned see the trueness of life
and portray it with such high esteem. Their integrity and complexity will forever be of
fascination to me along with their regard for beauty. Surely, by looking at how they are looking
influences and fine tunes my eye. As far as creating, I have forever been creating maybe just
not under the guise as an artist.

• What is the best piece of advice you’ve been given?

HH: Listen.

• When you are not taking beautiful photographs what are you spending your time doing?

HH: I prefer to be outside as much as possible for both work and leisure. I have been practicing
yoga for over 30 years and now teach. And I spend much time contemplating the horizon.

Dodging & Burning

While we use photoshop on daily basis to create beautiful digital images we also love using traditional darkroom techniques to create the best fiber or RC print we can. Almost every print we make requires some dodging and burning. Here is a brief explanation of dodging and burning:

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BURNING IN

This is where a portion of a print is too bright after the main exposure. The majority of the print looks good, so additional exposure would make it too dark. To fix this you add additional light ONLY to the bright area. To do this you cut a hole in cardboard or use your hand in a cup shape to project a beam of light back onto the paper AFTER the main exposure. This happens a lot in skies or if a heavy flash has been used. We also use burning to add a vignette to an image.

Some of our burning tools

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DODGING

This is where a portion of a print is too dark in the shadows after the main exposure is made on the enlarger. To fix this during the exposure you hold back or shade the problem area with a dodge tool (a piece of dark cardboard or plastic on the end of a thin metal wand). The time using the tool varies depending on how dark the problem area is during the main exposure. It is very important to keep the dodge tool in motion during the exposure, this helps feather the effect and makes it blend into the rest of the photograph. We usually use dodging in shadows to bring out texture in the print. You want to have a rich black but you do not want to block up all of the shadows in the image to achieve the rich black!

Some of our dodging tools

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An example of darkroom dodging and burning from Fstoppers

If you want to learn more about darkroom editing we recommend checking out this post on FStoppers Website

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Digital Paper Options

The world of digital papers is endless but not all papers are created equal! Here at Panopticon we use a variety of papers with Canson and Epson  being our preference for their archival natures. While we have our favorite papers to work with we are always happy to custom order papers for you and create new printing profiles for our printers. Paper choice is a personal preference and we recommend that you come in to review the options and talk to us about what you are looking for. If you are not able to come in to the office we can provide you with test prints on a variety of papers so you can review them at your convenience.

Our price lists offer two qualities of paper: standard and exhibition. Both paper options use archival inks. The only difference is standard papers are a lighter weight than the exhibition papers. If you think about it in old school darkroom terms, standard paper is the equivalent to RC paper and exhibition paper is fiber paper (for a more in depth look at darkroom papers visit our Darkroom Details blog post!)

Here are some of the papers we offer for digital printing:

* - marks "standard" papers"

MATTE PAPERS:

Epson Hot Press Natural

Epson Hot Press Bright

Epson Cold Press Bright

Canson Rag Photographique

Hahnemuhle William Turner

Epson Enhanced Matte *

GLOSSY & LUSTER PAPERS:

Canson Platine Photo Rag

Canson Baryta

Epson Premium Luster *

Breathing Color Vibrance Metallic

Harmen Fiber Based Wamrtone

Ilford Gold Fibre Silk

Hahnemuhle Fine Art Pearl

We are going to FILTER!

What is Filter Photo Festival?

“Filter Photo is a not-for-profit 501(c)(3) organization based in Chicago, Illinois.

Filter Photo’s mission is two-fold: first, to serve and support the photographic communities of Chicago and the Midwest; and second, to highlight Chicago as a vital center of the national photographic community.

Since 2009 Filter Photo has organized the annual Filter Photo Festival, a multi-day celebration of photography that includes workshops, lectures, exhibition receptions, artist talks, and other diverse programming. A primary component of the Festival is the portfolio reviews, through which photographers are able to connect with national and international curators, gallery directors, editors, and other elite professionals.”.

How do I apply to Filter?

You can register here. Sign up for 5 or 8 portfolio reviews and/or workshops. Reviewers included Paul Tagnorelli of the Griffin Museum of Photography and Kat Keirnan of Don’t Take Pictures. Workshops are presented by artists such as Keith Carter, Brandon Thibodeaux, Karen Irvine, April Wilkins, and S. Gayle Stevens. Also, artist talks by Alice Q. Hargrave, Patty Carroll,Leonard Suryajaya, Ross Sawyers, exhibition receptions, and much more. Some of the workshops have already sold out so make sure to get your spot!  Joel-Peter Witkin is this years keynote speaker and he will be giving a lecture on Thursday September 22.

What to expect from us at Filter?

This is our first time at Filter and we are very excited! This means a lot to our small business and we can't wait to meet the artists, speakers and the Filter Team in person. You will get a chance to meet our talented staff members Elizabeth Ellenwood and Nick Schietromo.  They are thrilled to visit Chicago and share Panopticon’s photographic printing practices and knowledge.

We will be including details on how to prep for a portfolio review within the next few weeks so stay tuned!

Antique Pendant Restoration

We recently restored & made copies of this beautiful antique pendant. The delicate necklace was only about an inch around and held a photograph of the clients father. We were able to enlarge it to a 3x3 (seen on left) and made small copies as well.