Some of Robert Adams' prints with similar kinds of open white space at the borders were hanging at the Fraenkel Gallery a few months ago. They were hot-mounted, then a thin black ink line drawn around the print, and a white gallery matte cut that left about 1/3 inch space around the thin ink line. I thought it looked quite classy.
One could do the same with a digital print by putting a near-black hairline around the image proper, separated by a thin white line to allow separation from the dark areas. It's kind of how the "two pixel- white, two pixel black" border was conceived for my web pages, eg: http://www.gdgphoto.com/ramsey/source/6.html I've printed this one both with and without the hairline surround, using about a 10% gray hairline color. In this one, the sky values in a print are very light, but not quite to the the paper's base color; the hairline surround works well. They both look good, I ultimately preferred the one without the surround. If the sky tones were lighter, I'd have kept the surround. Godfrey On Oct 30, 2006, at 8:32 AM, Mark Erickson wrote: > All, > > I'm looking for some advice. I printed a couple of shots from my > Bodie > gallery and really like them. Many of them have very light (almost > white) > areas at their edges. I usually mat prints with archival white > mats, but > I'm not sure that's going to work with these prints. > > I think straight black would dominate the prints, however, so I'm > not sure > what to do. > > Advice? Anyone with gallery experience? Or anyone with an opinion? > > Thanks, > > Mark > > p.s. the pics are at http://www.westerickson.net/bodiefall2006/ -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net
