Even before I had selected the final set of photographs to be mounted I was certain of the frame type and colour. White is a conscious decision as it makes the prints look bolder than without any frame. Due to space restrictions in the gallery. Due to space restrictions in the gallery I had to determine appropriate size for the prints and then the frames. After the curatorial team meeting, we had calculated, with some new walls put up, that each of the 19 exhibitors can have up to 2.5 metres.
With this in mind I decided to go for an A2 cropped in square, which translates into 420x420mm. Keeping in mind that I didn’t want the frames to become a distraction to the prints I deliberately choose 30mm wooden frames with glass and white finish. A perceptual ratio of frame thickness and print size was simulated beforehand in photoshop. The prints are to mounted from edge to edge, without gaps, in order to dominate within the borders of the frames. Also I think the specific thickness is just about right compared with the size of the photographic elements.
Since I was still unsure four which of the six would be mounted, I printed six proofs. After all is much easier to judge with the artefacts in hand rather than on a screen. The photographs looked better in a mat finish. I printed them on a 240gsm paper with inkjet pigment-based inks.
Although I have edited on a calibrated screen, printed colours were over saturated and I banding was noticeable, even though all my files are in raw format, taken on a an 21MP image sensor.
I re-edited the images on photoshop and this time lowered the saturation and contrast, to adjust to the printer’s specifications. Resizing the images to 42cm from the native 31cm was not an issue, since all the elements are smooth enough that pixelation or other artefacts associated with up-sampling.
Second set of photographs, to be edited down to 4: