Hey Mo,
I usually don't have time for an in depth response like this - but you got me at a weak moment, so I'd like to try and help you with a bit more meaningful feedback for your talk with photographers.
Start like this -
Most of the time, I see landscape photos framed in a minimalist fashion, white single mat – black frame.
I understand the "understated" look... but in my opinion, it's generic and it doesn't work for everything.
History has proven that genuinely good framing is timeless - and many photographers claim this style of framing is "timeless" - however this style isn't timeless - it's just bland "soul-less".
In my opinion, too many photographers choose to use generic, safe & uninspiring plain black frames and white mats, primarily because they only see “a frame” as a resentful purchase that is simply a "means to an end".
Some photographers also arrogantly argue that their photo is so great that will "speak for itself", even in a “low budget” frame.
Yeah right.
There is a famous saying by Edouard Manet -
"Without the proper frame, the artist loses 100 percent".
Fellow Aussie photographer, Peter Lik, recognised that framing of his photography must go beyond mediocre, beyond generic, and beyond black.... and chose framing styles and methods that genuinely suit his images.
Peter understood this, and wasn't afraid to spend $$ on great framing, so that he could ask $$$$ for the final piece.
In fact, Peter doesn't just aim for "great framing" - he actually has his own "signature style" of framing - which he spent countless hours designing and developing.
If any photographer aspires to reach the status of Peter - I suggest they take a different look at their images, and their framing, from t
heir potential customer's point of view.
- “What will make your photo look its best, from the buyer's perspective?"
- “What will make them want to buy it and immediately put it on their own wall?”
- “Customers don't just buy "photos" alone, they buy the whole picture - including the frame”
It doesn't always need to be "high end" mouldings, but you should aim for something that is
not generic, not formula, and ultimately
enhances the image - so it achieves a "Wow" response!
Ask them - "Are you really happy to “just frame” something the same as everyone else… or, do you want to take a chance, and be different?.... What do you think your work is really worth?"
So when it comes to frame design – take a moment to ask yourself this - "If money was no object, how would you choose to frame this photo f
or yourself?" and then see what you can come up with! You might be inspired – just like Peter Lik once was – when he made the first step in his transition from being a humble local tourist postcard photographer, to a world-class photographer.
(I remember – as I personally helped Peter set up his first production operation in Cairns approx. 15 years ago)
Mo – I would suggest you do this – buy two copies of a nice landscape photograph to frame:
- Frame one up in a typical, generic format – with a simple black frame and white mat.
- Frame the other one up in a “knockout” design and style.
Set them up on an easel for your presentation, each hidden under a piece of black satin cloth. Then unveil each of these to your audience of photographers one at a time – and leave them “side by side” for direct comparison.
Not only will this powerful demonstration help visually make your point – it will likely make you a few instant customers as well.
Go for it mate.
Cheers,
Jared <- that guy from Down Under.
