Perhaps you have accumulated a sufficient number of photographs to organize a photo exhibition, but how to arrange them? On this moment many photo printing centers offer such a service as arranging photos in a passe-partout. A photo designed in this way looks more impressive, due to the side margins, the image is separated from the environment and becomes a separate object that attracts attention.
How to correctly arrange your photo in a passe-partout at home? Consider two ways, the first - by sticking a photo on a passe-partout, and the second - cutting a window into a passe-partout.
So what is a passe-partout?
This is a multi-layer cardboard for decorating photographs of various thicknesses from 0.8 mm to 3 mm. In art stores, you can pick up a passe-partout of any color, but white is most often used, which has many shades. Also pay attention to the surface, it can be both smooth and textured. It’s not worth saving on a passe-partout, poor quality cardboard quickly fades and deteriorates and can at the same time ruin appearance your photo. In terms of size, it is better to buy sheets of 80 by 100 cm, so it turns out more economically.
Photo sticker on a passe-partout.
We have a print 11 by 15 cm in size (I have one), what should be the margins for the image to look advantageous?
There are no exact settings here, but there is general rules– in horizontal format, the side margins must be equal and larger than the top and bottom margins, and in the vertical format, the top and bottom margins must be larger than the side margins. For this photo format, let's take the margins equal to 5 cm, so the side margins will be 5 cm, the top 4 cm, and the bottom 6 cm.
Why is that?
The photo on the sheet should not be placed in the physical center of the sheet, but in the optical one, which looks more harmonious. Therefore, the top margin should be slightly smaller than the bottom margin.
There is also a geometric way to find the optical center, now we will check how right I was in my calculations.
So - we have a passe-partout sheet measuring 25 by 20 cm. (Fig. 1) Let's combine the upper left corner of the photo with the upper left corner of the passe-partout. Next, we measure the distance from point A to point B and divide this distance in half and from this point we lower the perpendicular down.
Fig.1
Then we measure the distance from point C to point E, divide it in half in the same way and draw a parallel straight line relative to the lower edge of the mat. Draw a diagonal from point C to point P. The intersection point of two lines I is the coordinate at which we place the lower right corner of the image.
By placing our photo in the optical center of the passe-partout. (Fig. 2) and removing the distances, we get that the side margins will be equal to 5 cm, the upper margin is 3.5 cm, and the lower margin is 6.5 cm. It is up to you to decide which calculation method to use - by eye or geometric. 🙂
Fig.2
Next, we mark the tops of the photo on the passe-partout with a pencil and turn the photo over, you can glue it with rubber glue, it does not spoil the photo and is easily removed, just rub it with your finger, it rolls into a ball. Or you can use double-sided stickers for photos, or corners. Finally, you can arrange your photo with a passe-partout in a wooden frame.
Passepartout with a window.
Admittedly, this method of designing photos is more expensive, but the result is worth it.
What we need: a sheet of thick and thin cardboard, a pencil, an eraser, a ruler, a passe-partout knife, photo corners or double-sided stickers, paper tape, fine sandpaper, a breadboard knife, possibly a rubber mat.
So, let's begin:
We have already decided on the size of the passe-partout, so it remains to cut out two sheets of the same size, the thin one will go to the substrate, and the upper thick one to the window. (Fig.3) Put something on the table beforehand so as not to spoil the surface of it when cutting.
Fig.3
Next, we take a thick sheet of passe-partout, turn it face down and draw our window, taking into account the margins - lateral 5 cm each, top 3.5 cm, bottom 6.5 cm. If we want the edges of the passe-partout to go into the photo, then subtract 3 mm. I have a tap on my knife that allows you to draw an even rectangle of a given length and width.
Fig.4
Then we take a knife for cutting the passe-partout (I use a knife from Logan mod.4000), using such a knife, a cut is made on the surface of the cardboard at an angle of 45 degrees, and we make a neat cut from 4 sides. (Fig.5)
Fig.5
I must say that the bevel creates the impression of a smooth transition from the mat to the image. In this work, it is better not to rush and do everything slowly and smoothly. After cutting - squeeze out the window and process the bevel gently with sandpaper. (Fig.6)
Fig.6
We take our photo and place the mat of the substrate in the optical center. If we use the corners, then we can press down the photo with something heavy so that it does not move and glue the corners to the passe-partout. This method mount allows you to painlessly change photos in your exposure.
Now you can connect the lower part of the passe-partout to the passe-partout with a window using paper tape from the top side. The fastener must be on the inside.
Fig.7
Voila - our creation is ready, it remains only to choose a decent frame (Fig. 7)
2009 © David Fedulov
The presence of exhibitions is one of the criteria by which the success of a photographer is assessed. Even if your pictures hung only in a friend's garage, this is already a contribution to the treasury of personal success. And, of course, it strengthens self-confidence. Want more?
Stanislav Beloglazov, photographer, director of the photo school and photo agency "Magnet"
The photographer cannot but share his creativity with the people around him. Pictures need to be posted on the Internet, shown to friends, exhibitions organized ... This is necessary, first of all, for self-expression. Think of it as the footprint you left on this planet.
Social networks provide all the opportunities for promotion. But photographs printed and hung on the wall give a different feeling from the picture and a different detail. There is no way to avoid the fact that the vertical picture on the monitor looks visually small. At a size of 70 by 100 centimeters, the picture blooms with new colors.
The photographer, looking at the photo, recalls the sensations at the time of shooting. Therefore, it is better to shoot, forget and not touch the photos for a month. Only then do processing, sampling, searching for a concept. It may turn out that those live impressions that were during the shooting will go away. The photo will turn out to be uninteresting or, conversely, some new meanings will emerge.
Selection of pictures 80 percent of the success of the exhibition. And about the same percentage of the material remains in the basket. Any collection should have an idea. It can be formulated in the title of the exhibition, but it is better if it is understood without words. Pictures can be combined by theme, mood, light. For the sake of the idea, technically or compositionally good shots may be inferior to shots that are weaker, but fit better in a series. Photographs should form a complete picture of the collection.
The sequence in which the frames are located plays a role. There are laws that govern perception. When pictures are hung independently of each other or side by side, it produces a completely different effect. Print the photos on a black and white printer and try to arrange them in a certain order. You can rearrange frames in places on the computer screen.
At the stage of photo selection, it is important to involve people with a fresh look in the process.: parents, friends... This may be a person who does not take pictures, but loves movies or goes to exhibitions. The task is not for him to assess where the horizon is littered, but where the composition is unsuccessful. It is interesting to hear what he understood from the photo selection.
Museums and galleries independently search for photographers and consider proposals. So show them your photos. But it's better to take three great shots than 30 of which five are terrible. A spoiled impression will say that luck was random, and you did not have the talent to select good shots. The question always arises, on whose money to print photos. You can spend money on printing yourself, and the gallery will take care of the design.
Offices can host a photo exhibition, shopping centers, clubs, cinemas, schools and universities. My first exhibition was held at the former Ural State University within the walls of the Faculty of Physics, which I graduated from. Stas Slavikovsky (deputy director of the Salyut cinema) and I bought ourselves an old Zenith and drove across Europe from Denmark to Bulgaria. We printed 300 photos measuring 10 by 15 centimeters and glued them with adhesive tape on the wall in one line throughout the entire faculty, leaving only the doors intact. Post photos wherever possible: even in the garages and sheds of friends in those places where your work will definitely be looked at. Why do paintings wallow in the dust? Let them live somewhere.
In the wardrobe of the Center for Photography. the Lumière brothers were almost empty. Eduard Litvinsky is watching the guests, standing on the step at the entrance to the halls. It seems that the opening of the exhibition of the Czech photographer Jiri Tondla was successful: one city, two slices of time - the daily life of Leningrad in the 1970s and St. Petersburg in the early 2000s. “A real exhibition is not a set of framed photographs, but an idea, a story, a concept,” says the owner of the center. “We even print a feedback notebook for each project and keep it.”
Litvinsky is an experienced entrepreneur, president of the Russian Project group of companies that sells equipment for the food trade and restaurant business: from scales and vegetable cutters to refrigerators, convection ovens, cash booths and bar counters. He does not disclose the turnover of the Russian Project (according to SPARK, the revenue of only one of the group's companies, RP-retail, exceeds 1 billion rubles). The revenue of the Center for Photography, which opened in March 2010, is 40 million rubles. A total of 30 million rubles were spent on its creation. For Eduard, this is not a business diversification, but also not a whim of a wealthy person who does not feel sorry for the money for his hobby. Together with his wife Natalya, he organized the work of the center in such a way that it would develop itself - photography exhibitions can be profitable.
How did it happen that Litvinsky moved from trading racks to expositions? Russian Project, founded in 1990, successfully survived the first Russian crisis (in 1998, the group's turnover was 2.8 billion rubles, and its branches appeared in a dozen and a half Russian cities). "It's hard to name retail network, with which we did not work, - says Litvinsky. - A restaurant market has appeared - they are engaged in restaurants. We accumulated competencies in process design, equipment maintenance, and this brought our business to a new level. All in all, things were going well."
One day in the summer of 2001, Eduard and Natalya had lunch at a country restaurant with a friend, the art director of the Dacha gallery, Mark Patlis. It was about photography. Litvinsky's father was a professional photographer, and Eduard loved photography since childhood. Word by word, an idea arose: why not open a photo gallery? It is precisely such places where works are put up for sale, printed and designed in accordance with all the rules, that have not yet been in Moscow.
A suitable room was found in the Central House of Artists. Up to 40 photographs fit on the walls, but more were not required. The gallery was named after the Lumiere brothers, borrowing a high-profile surname from the founders of cinema (few people knew the names of the inventors of the photo). Accordingly, the bet was placed on old photo. The first buyers were offered "vintages" from the collection of Lev Borodulin, a reporter for the Soviet Ogonyok. Eduard and Natalya managed to buy a part of the archive of Emmanuil Evzerikhin, who filmed the bright events of the 1930s and the battles of the Great Patriotic War. In the fall of 2002, they put on an exhibition of his selected shots. Six months later - an exhibition of Boris Ignatovich, one of the founders of the "new wave" in a pre-war photo. Exhibitions did not generate income (entrance tickets were sold by the Central House of Artists), but drew attention to the small gallery.
Searching for old prints and negatives, its owners came across forgotten names over and over again. “Everyone was hovering in the ambitions of the 1930s, and for some reason the period of the thaw and subsequent years was not in demand,” recalls Natalya Grigorieva-Litvinskaya. “We decided to raise this layer.” As director of the gallery, she signed contracts with Vasily Yegorov, a retired TASS special correspondent, a master of genre photography and political reporting, and Vladimir Lagrange, a correspondent for the Soviet Union magazine. Agreed with the heirs of Naum Granovsky, a photo chronicler of Moscow, on the exclusive right to use his fund. She bought the archive of Alexander Ustinov, who photographed cosmonauts, marshals and ministers.
“For the first four years, the gallery constantly required investment,” Litvinsky admits, without disclosing the amount of costs. “The acquisition of funds, the printing of photographs, the creation of exhibitions - the activity was stormy.” The processing of photo archives took a little less effort and money than the purchase. For example, the archive of Andrey Knyazev, a correspondent for Sovetsky Screen and Moskovskie Novosti - four TV boxes filled with boxes of film - were sorted, studied, and scanned by the gallery staff for more than three years. But such funds became almost a gold reserve.
On self-sufficiency gallery them. The Lumiere Brothers came out in 2005, selling about 400 works at prices ranging from $300 to $1,000 (the circulation of any photo did not exceed 30 copies). The Litvinskys even ordered an accounting program based on 1C: Enterprise. “And then we plunged into an adventure,” Natalya recalls with a laugh. The couple took the risk of repeating the famous exhibition of the 1970s "USSR: country and people", which visited 50 countries of the world. Namely: to find the authors of all the photographs, their heirs or owners of works, to take something from their archive and make a new exposition - from those pictures that, after years, can be considered unique for that era.
The preparation of the project took two years. Additional space was rented in the Central House of Artists. The exhibition opened in April 2008. Grigorieva recalls how she was surprised and delighted by the flow of people walking to Photo 60-70. “That's how we realized that our exhibition activity for the gallery business is redundant,” adds Eduard Litvinsky. - This work did not bring economic effect, but everyone really liked it and gave a great response. So, it needs to be singled out in a separate direction.
There was only one center of photography in the capital at that time - the Moscow House of Photography by Olga Sviblova. But photo exhibitions were regularly held in the Manege, the Central House of Artists, the Museum of Architecture. Shchusev, and the organizers did not complain about the lack of spectators. One problem: real estate in the city center, suitable for a private exhibition center, was expensive - about $ 2,000 per square meter per year. But somehow on the eve of the New Year, 2009, while driving along the Yakimanskaya embankment, Litvinsky noticed a large banner on one of the buildings of the closed Krasny Oktyabr factory: "For rent." I called - only 6,000 rubles per meter per year.
“The place turned out to be magnificent, despite the devastation that we found here,” says the entrepreneur. “So the decision was made literally in a day.” Repair on 800 sq. m was done in an emergency. In February 2010, the next (and last) exhibition was held in the gallery in the Central House of Artists, and already in March, the Center for Photography named after I. the Lumiere brothers. More than 300 rare photos famous Soviet actors, directors, athletes, writers, scientists. Up to 1,500 people a day came to Icons on weekends, the ticket office, wardrobe and ventilation barely coped with the load.
Since then, the center has expanded, renting another two and a half hundred meters. At the same time, two or three exhibitions can be held there - author's or thematic, each lasting 6-8 weeks. With the exception of imported expositions, up to 70% of the works are selected from the center's fund - now more than 10,000 prints are stored there. According to Litvinsky, the income from the sale of tickets, books, posters and postcards is completely enough for the maintenance of the center (rent, salary, etc.) and so far only partially for the preparation of exhibitions. Printing and design of photographs is at the expense of sponsors - manufacturers of photographic equipment and photographic materials: Canon, Fujifilm, HP.
Exhibitions for connoisseurs Litvinsky try to alternate with obviously mass projects. So, the year before last, they brought an exhibition of Josef Koudelka, who filmed the Prague Spring and the Soviet invasion of Czechoslovakia in 1968. A maximum of 500 people came to see it on weekends. But "Moscow stories" in September 2013 gathered up to 2500 spectators on Sundays. The most universal exhibitions are being prepared for tours. Now 14 projects are offered for rent: for example, “Icons of the 1960s-1980s”, “Vladimir Lagrange. We lived like that” (207 photos), “The time of the bells. Heroes of Russian rock "(160 photos)," The first cosmonauts. Unofficial chronicle "(60 photos).
"We love the most different photo. Come on, I'll show you, ”Eduard Litvinsky invites. And hurries to the hall where the portraits made by Tim Mantoani hang - the most successful photographers in the world with their the best works in hand. Passing from one to another, the entrepreneur notices: we are friends with that author, and with this one too. And Steve Shapiro, one of the most famous US photojournalists, was so pleased with the Living America exhibition prepared by the Lumières that he granted the center exclusive rights to show it in this format. It is in the rental catalog of the center.
Rental, however, brings the center no more than 3% of revenue. Litvinsky explains: private exhibition sites there are few in the country, and state museums are not ready to pay (only the Russian Museum accepted a couple of projects, and even then not on commercial terms). Lumiere's clients are the Etazhi art center in St. Petersburg, Vernissage in Krasnoyarsk and several other regional customers. “We are newcomers, so bringing something ready is the best way out for us,” says Natalya Sipetaya, founder of Vernissage. “We are renting space and so far we are going to zero, but we hope for profit in the future.”
The Litvinskys also hope that instead of five exhibitions a year, they will rent 20-30, and the number of Moscow projects will increase. In 2013, the center hosted 11 exhibitions, and 19 exhibitions are planned for this year. What are your colleagues' opinions about the Lumières? Olga Sviblova answered Forbes that she doesn’t know the center’s work very well, because of overloads she doesn’t have time to follow it (MDF is now also a photography school and the Multimedia Art Museum). The Lumières are great. They, of course, have financial resources, but they also invest them wisely,” notes the owner of one of the Moscow photo galleries that opened in the second half of the 2000s. “High-quality exhibition space, a good own collection, a great store – in general, it is difficult to compete with them.”
The gallery in the Central House of Artists was preserved by the Litvinskys. “This is a different business that is consistently profitable, and there is some synergy,” Eduard explains. However, near the center last year was profitable and the year before, too. It would be easier if we ourselves rented fully finished exhibitions. But it's not that interesting."
Any exhibition is, first of all, a party. Photo exhibitions are held to achieve two main goals:
1. PR
2. Possibility to sell some works. What to do with the money received, everyone decides for himself. Some take it for themselves, some donate it to charity.
quantity
To organize your photo exhibition you need to collect a certain number of exhibits. It is unlikely that an exhibition with 5 photographs will be of interest to anyone. But overdoing it is also not worth it. One hundred photos is a lot. Unless, of course, in your photographs you do not tell the life of a whole person.
Theme for a photo exhibition
As a rule, the exhibition has some focus or theme. For example: Night city life, Infinity or apocalypse today. The subject can be anything, but the photos that you will exhibit there should show your vision on this topic. Such exhibitions are always more interesting to the viewer. Exhibitions are also themed. For example, the annual exhibition of wedding photography.
Registration of a photo exhibition
All photographs in the photo exhibition must, decorated in the same style. Then it will look concise and interesting. Now it is very popular to print photos in the size of 30 by 60 or 40 by 80, glue them on foam board. It turns out cheaper, and in the future it is more convenient to store. If you want something more, then it would be nice to arrange photos in a beautiful frame, under glass and always using a passe-partout. But it will already be much more expensive.
Place for a photo exhibition
Venue for photography exhibition should be chosen carefully. It is very important to pay attention to the light. Photos may not look good in poor light. Also, the place should be passable. Now it has become fashionable to arrange photo exhibitions in shopping and entertainment centers. Of course, it's not as solid as a trendy art gallery, but it will do for a start. There are usually a lot of people walking there, so there is not a bad opportunity to highlight your name.
The ideal option is when you do not have to pay for a place. This happens quite often too. The one who gives a place for a photo exhibition is most interested in attracting new visitors who can become customers. If you have to pay for rent, then it makes sense to do an exhibition with the participation of other photographers.
Organization of a photo exhibition
The peak of the exhibition is your performance in front of the audience. Many of you will probably have some questions. You as the author at the exhibition simply need to be, otherwise it may be regarded as disrespectful to the viewer. If you have a charity exhibition, feel free to declare it. Especially if you really set goals for yourself to help those in need.
Today I will show you a report on how photographs are printed. The process is closely watched by the ideological inspirer and in fact the implementer of all the preparation - Yura, he also filmed how they do it. Now ask - why I do not print photos myself? Well, firstly, I confess that Yura has prepared several very serious photo exhibitions behind him, so he has many times more experience. Again, he has a printer at his side, with whom he has worked together not for the first time, and who can be trusted.
1. This is how a 90x60 photo looks like. Size matters)
I probably forgot to brag - I will have a personal exhibition. It will be held in Moscow from February 25 to March 6, at the Photo Center on Gogolevsky Boulevard. As many as 73 photographs will be presented at the photo exhibition, of which 45 photos are 60 by 40 and 28 photos bigger size 90 by 60 cm. The grand opening of the exhibition will take place on February 25 at 18:30. I will invite you all in a separate post with a poster, closer to the exhibition, otherwise you will forget anyway) And then the exhibition will go to Kyiv
Taken from anton_petrus Q How are photos for an exhibition printed?
2. Photos are printed in Barnaul at the "Photocourier" company, we print exhibitions with them not for the first time and they never let us down, they always do the job with high quality, on time and are always ready to make a discount) We highly recommend this company to those who print in Barnaul . Director - Fokiev Vladimir Alekseevich always personally controls such orders. Who lives in those parts - "Photocourier", Barnaul, st. Kirova 49A
3. Interior large-format printing on self-adhesive film and rolled on plastic (PVC) 3 and 5 mm thick - that's what our printing process is called)
4. Altai photos and a piece of Norway come out of the plotter. The exhibition is dedicated to what I strive for all my life - the Mountains. You can see photos taken in Norway, Israel, Nepal, Russia and Ukraine. Many Carpathian and Altai photos. Among other things, I would like to show that beauty has no boundaries, conventions, all this is only in our heads.
5. Demerdzhi and Cappadocia, another car of interesting things)
6. This photo shows how the film is glued to the plastic. If I did this, then there would be a huge amount of bubbles as a result)
7. Titanic work, as for me, and even jewelry - only for people with strong nerves. I wouldn't even be able to calmly watch this process ...
8. And constant quality control! A little something is not right - right away)
9. In general, now the entire team of the "Photocourier" company is working on the design of photographs for the exhibition. And work there for at least a week.
10. Here is the finished work of 60 by 40 format, filmed in Norway. house for introverts
11. And one of the cascades of the Khapkhal tract, Crimea
The exhibition is held under the absolute support of "Adventure Workshop". Low bow and hugs!
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