Tag Archives: framing

7 More Tips for Extremely Wide Angles

[tweetmeme]Just under one year ago, I wrote an article titled “8 Tips for Shooting Extremely Wide Angles“. I wanted to follow up with some additional tips on the subject… and of course, more great photos for your viewing pleasure.

So here are 7 more tips for shooting with extremely wide angle lenses. Some are brand new, and some are an expansion from the previous post. Either way, enjoy!

1. PAY ATTENTION TO YOUR FRAMING

20
Creative Commons License photo credit: Maurizio Polese

Extremely wide angle lenses make everything look smaller. This poses a problem when looking through the viewfinder because objects inside the frame can be hard to notice. Chances are, you’ll be paying attention to the overall image and the composition, but these minor details (especially around the edges of the frame) can slip by. What you end up with is a good shot ruined by some small thing down in the corner of the frame. Sure, you can crop it or clone it out, but it’s better to pay attention when you press the shutter.

2. SHOOT A CUSHION SPACE

adelaide slipstream
Creative Commons License photo credit: mugley

Because of distortion, wide angle shots are difficult to get straight. You typically don’t have a perfectly straight line to set your tilt, so you might end up with a slightly crooked shot. This happens more often with this type of lens, so leave a small amount of space around the edge if you’re unsure of your leveling abilities. Even if you shoot straight, you might want to crop down the outer edges just a bit. Distortion increases toward the corners and it can really stretch things out.

3. GET CLOSER

Pout
Creative Commons License photo credit: orangeacid

When shooting extremely wide, you’ll need to get extremely close to your subjects if you want them to be more than a minor detail in the photo. These lenses can usually focus fairly close, so you can get within several feet and focus with no problem. Just be careful that you don’t get too close — appearances in the viewfinder can be deceiving, and you might bump your lens into your subject.

4. STEP BACK

Point The Way
Creative Commons License photo credit: kwerfeldein

Contrary to the last tip, you might want to step back from your subject. This is more well-suited for the landscape photos. Sometimes you have large foreground elements that you want to include in your composition. Just step back a few paces and the whole perspective changes — things up close get significantly smaller, while things way out there don’t change much.

5. ENSURE STRAIGHT LINES

Salton Sea Sunset
Creative Commons License photo credit: Brian Auer

Some wide angle lenses are better than others when it comes to distortion (you can tell by the price tag). But all wide angle lenses share the characteristic of having minimal distortion at the center of the lens. This also works for the horizontal and vertical center-lines of the lens. If you place a horizon at the top or bottom of the frame, it will probably be distorted. But place the horizon at the center of the frame and it should be almost straight. This also works for vertical lines in things like architecture.

6. DISTORT REALITY

184/365 - enjoy coca-cola
Creative Commons License photo credit: B Rosen

Sometimes you want to be a deviant and break “the rules”, right? All you have to do is ignore the last tip. Shoot straight lines near the edge of the frame and you have a whole new reality. You can also get really close to small stuff and shoot against a distant background of big stuff. Or perhaps you could take some portraits at a minimum focus distance and go for the big-nose look.

7. GET CREATIVE AND HAVE FUN

When bovines attack :-)
Creative Commons License photo credit: tricky ™

Super-wide angle lenses are fun to shoot with, but they require a bit of creative thought sometimes. Try out different combinations of subject distance, frame location, perspective, and secondary subjects. You might be surprised at the results every once in a while.

How about some other examples of extremely wide angle photography — drop a photo in the comments below, and leave a tip or two!

Making Fine Art Prints: Framing

Making Fine Art Prints: Framing

We’re really coming along on this series! Almost to the finish line now! In this article, we’ll be covering the topics of matting, mounting, and framing your fine art prints. These are really the final steps in producing the artwork, and they’re equally important as the other steps.

Some artists insist on defining and providing the matting and framing as part of the final display, while others are okay with leaving it up to the recipient of the work. There’s no right answer — you’re in charge and you get to decide what to do. Personally, I’m more inclined to let the buyer mount, mat, and frame the print so that it fits well in their home or personal gallery. For the work (of other artists) that I hang in my home, I like to do these final touches myself so they all match each other.

So if your work is going to a private collector, you might just ask them what they want in terms of matting and framing. If the work is for a gallery or exhibit, they might have strict guidelines for the final presentation. Every situation will be different, so be flexible!

THINKING AHEAD

Your print and paper dimensions will be determined by the intended matting and/or framing (along with where you sign the print). You’ll want to leave a bit of extra space around the photo so that it can be properly displayed. The mat will sit over top of the paper, so account for at least 1/8″ to 1/4″ of extra space for this. If you want to leave a white border around your photo in addition to the mat, be sure to leave that much extra space. As a rule of thumb, I tend to leave 1/2″ to 1″ of extra paper around my prints — depending on the intent for final display. You can always cut off the extra paper, but you can’t add paper back to the print. So leave lots of room if in doubt.

Also be aware that standard mat windows are slightly smaller than the stated size. An 11×14 mat or frame will be a bit less than 11×14. If you print at exactly 11×14, you will cover a small amount of the image around the borders. I’ve found that it can be a real hassle trying to fit my photos into standard windows due to the fact that the images are captured at a different aspect ratio. So I save myself the headache and go for a custom cut mat. Just keep that in mind through this discussion — mats and windows can be cut to any size you need.

MOUNTING

Mounting a print involves adhering the back of the paper to a board of some type. This keeps the print nice and flat while ensuring that it doesn’t move around in the final display. Mounting boards can be things like foam core, poster board, mat board, or (my favorite) Gator board. High quality boards can be quite expensive, but keep in mind that this is a fine art photo and quality is the name of the game. Don’t skimp on the mounting board if you go this route.

When mounting (and this goes for matting as well), be certain that you’re using a non-acidic and NON-PERMANENT archival quality adhesive. Why non-permanent? Once you adhere the print to something permanently, it will likely lose value in the eyes of some collectors. The actual print is the valuable item here, so it’s best to leave the possibility of removal. But, as with any advice in this series, the decision is up to the artist.

MATTING

Matting a print involves placing material on top of the print in the form of a border. This does two things: provides a predefined viewing space for the print, and protection. The mat border can be as large or small as you wish — as long as it looks good with the photo. It also sets the photo back from the top plane of the piece, which keeps the print surface away from other surfaces (like the glass of a frame).

When it comes to mat materials, you basically have your choice of colors. You can also get mats with different colors in the core (usually white if different than the main color of the mat) — this gives the border of the print a little extra complexity and separation. Most mats come in 4 or 8 ply, with 4 being more common and available. The ply just designates how thick the mat is based on how many layers of material are used. Mat windows are commonly cut at a 45 degree bevel to show the depth of the material, but there are other types of cuts available to suit your tastes.

If you want something truly unique and perfectly matched to your particular print, go with a professional framer! These folks have a huge number of mats available to them, and they have the equipment and knowledge for cutting the stuff. Unless you do a huge volume of matting, it’s totally worth it to use a professional framer.

FRAMING

The wall was framed
Creative Commons License photo credit: Leonski

Framing is the really expensive part of the final presentation. A good frame setup will cost far more than the mounting and matting. Framing is also the main part of the piece that needs to match with the surroundings of the display location. Change the frame from wood to metal and you have a totally different artwork. People are generally picky about the framing of their displayed artwork because it needs to match what they already have on the wall.

I generally don’t frame my photos unless the recipient explicitly asks for it. Even then, I try to find out exactly what they want so they’re not disappointed with the final piece. I’ll try to let the buyer do their own mounting, matting, and framing so that shipping costs are lower and so they can present the artwork in a way that suits their own tastes.

And as I said before, use a professional for your framing needs. Don’t go buy a cheap plastic frame that happened to be on sale and stick your “fine art” print in it. The quality of the frame will completely diminish the quality of the artwork. Not trying to be snobby about this stuff, but I’m just sayin’!

USE A PROFESSIONAL!

Ok, I know, I said this a few times already. But I have to say it again. Unless you create a large volume of mounted, matted, and/or framed fine art photos, save yourself the trouble and use a professional. PROFESSIONAL is the key word here. A pro will be able to provide you with a top quality product and a top quality experience. You’ll pay a few dollars more than a craft store framing service, but it’s worth it.

I use Artistic Endeavors here in San Diego, and these guys are REALLY good at what they do. A professional will work with you rather than just for you to produce exactly what you want.

For my personal collection (of other people’s works) hanging in my living room, I choose to mount the photos on black Gator board and mat them with a 4-ply black mat and white core cut at a 45 degree bevel. I usually leave a 2-3″ mat border depending on the print size. I hang the prints on the wall without a frame — just the mat and the board cut to the same outside dimensions. It gives me a trendy display at minimal cost.

WHAT’S YOUR EXPERIENCE?

In this section, I’ve spoken mostly in generalities because we don’t have the time or bandwidth to get into the technical details of this topic. But I’d like to hear what the rest of you do for your fine art prints. Do you mount, mat, and/or frame them before sending them off? Do you do it yourself? Do you have experience with a professional framer? And if you collect prints, how do you display them in your own gallery?

FOLLOW THIS SERIES OF ARTICLES!
BACK — SIGNING
NEXT — SHIPPING

Link Roundup 02-21-2009

Great things happening around the web this week — here are a few good ones.

  • It’s The Lens, Baby!
    DIYPhotography.net
    Most of us have heard of the LensBaby, but what exactly is it and what can you do with it? Here’s a nice little overview of the system.
  • Build a Tilt-Shift Camera Lens for Peanuts
    CreativePro.com
    One of the fancier lenses in the world of SLR and digital SLR (DSLR) photography is the tilt-shift lens. Learn how to build one and create stunning photographs with it.
  • Steady that Point ‘n’ Shoot
    Beyond Phototips
    Point and Shoot cameras are notoriously difficult to keep steady in low light situations. Here are a couple of tips that should help you steady your swaying forearms when taking these photographs.
  • Waterfall Digital Photography
    digital Photography School
    Waterfalls do present themselves as a wonderful and challenging subject matter to photographers. Here are a few tips for getting the most out of waterfall scenes.
  • Facebook’s Terms of Use: From Bad to Beyond Worse
    JMG-Galleries
    Over the course of the last week, Facebook updated their terms of use and created a lot of (negative) buzz around the web. Jim wrote a good article covering the topic from a photographer’s standpoint.
  • Guide to matting, mounting and framing photographs
    Reyns Wim Photography
    For as little as most of us actually print our photos, there are probably even fewer who mat and frame them. Here’s a nice DIY tutorial on the topic.
  • Thoughts from Zack Arias
    Photoshop Insider
    You have to watch this video. I don’t care what level photographer you are, watch it. Then watch it again.
  • Photo Tip Video: Twist Your Grip
    Neil Creek
    Here’s a nice little tip for improving the stability of your camera a low shutter speeds.
  • Edit My Photo project
    Phill Price
    Phill is running a cool project that requires you to edit one of his unprocessed photos. These are always fun, so don’t miss out!
  • Blog Project: View from Your Studio
    Latoga Photography
    Here’s another project open to everyone. This project requires you to take a picture or set of pictures describing “the view from your studio”.