Teaching another city college class

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Kirstie

Kirstie

PFG, Picture Framing God
Joined
Jan 16, 2007
Posts
8,395
Loc
Berkeley, CA
I see on my calendar that next week the local city college is bringing its advanced photography students to me again for a repeat of the class I gave them a couple of years ago on preservation framing for photographs. I have some vague notes, but am so under the gun right now with catch up since I returned from Italy that I can't think--the topic is so broad. I would love any topic suggestions to fill 1- 2 hours. What would YOU include in a speech to a group of 20 or so young eager photography students? I want to be new and fresh and energetic, which I am sure I will be next week!
 
There were some interesting posts awhile back about
how if certain inks aren't printed on the specific
papers they were designed for, they can fade much
more quickly than expected.

So many photographers print their own work nowadays,
and they often don't realize the difference that
these choices make over the lifetime of the photo.

Maybe your students will be people still working
with chemicals in a darkroom, making lovely
things like selenium toned prints. But chances
are some of them will be working with good
old Mr. Epson sooner or later.

If you read this post and can only say, "Well, duh...",
that's fine. Maybe what you want is amazingly more expert
advice than this. But hopefully, this idea is still somewhat
helpful. I'll take the chance. :)
 
If you are covering digital as well as traditional photography (and all the hybrids between) there is really no end to source material. Each new technology adds a layer of variables in an already complex craft...walk through a few possibilities and decide what treatment is best for the end result.
I've been seeing some images on a relatively new product called a "Metallic Lambda Print". It's about as much fun to work with as Ilfachrome. It's neat that Fuji can develop these new products and then just turn it over to the consumer without resolving how it should be treated for framing.:icon45:

The photographer can choose any method they want in the framing (I dry mount photos for several professional photographers) as their decision is integral to the look of the finished product. What is important is consistency.

I disagree about the Restore board from Bainbridge. It was not designed to work with slick finished photos such as RC color processed and Polaroid. I also believe that the formulas and coating methods have changed on the Restore Board and reversibility is now a serious issue with the product.
 
The most important idea to share with photographers is the advantage of printing images with white borders, since that allows their photos to be matted and secured with edge strips,
without mounting or hinging.



Hugh
 
just a thought(& excerpts from another thread--http://thegrumble.com/showthread.php?t=31556)

"Yes, I see very poor quality framing especially from art framed by artists. They don't want to pay to make it look good. I am trying to change the world by teaching these artists that garage sale frames just don't cut it. I will change the world one artist at a time and maybe one day an artist will come back and say thank you. Candy"


"they do NOT teach mat cutting or choosing the correct colors in art school. Keith"


close to the 'bottom' line is: kids, you will be asking alot of $$ for something that very probably will look like *&^%....people wil know, intellectually, that these things can be changed, BUT in reality, they see it as unneeded expense and "that's the way the artist meant it to be". so just do it RIGHT the 1st time????
 
Kirstie,

Having taught a vocational program at the CC level for 13 years, I will pass on to you some of the things that I had to learn by trial and error and feedback from my students.
  • If the class is short and the subject matter is large, stay GENERAL! The specifics will come near the end when you have a question and answer session. You can lose new students with too much specific details that they are not yet familiar with.
  • No matter what you are lecturing on, watch for questions. Sometimes a student has a question that is best answered right then and now, before they forget it or it becomes generic after that subject matter is passed.
  • Don't ever try to dazzle your students with the brilliance of your knowledge!! You may be the expert but they are new to the subject matter and don't care nor understand your little stories and anecdotes unless they apply directly to the subject matter at hand.
  • And also don't try to baffle them with BS when you don't have an answer! They will see right through that or find out the truth of the matter later and think much less of you. There is absolutely nothing wrong with saying, "I really don't know the answer to that question but I will get it for you if you check back with me later."
  • Regarding being "new and fresh and energetic", if you mean physically, then do what you have to to be as fresh as a daisy. If you mean the subject matter and teaching content, remember that what you think is dull and boring and repetitive is quite new for each class of young students. They haven't heard the material yet even though you have presented it repeatedly to others.
  • Finally, be yourself, joke a little bit if that is your way, tell some flubs that occurred to you so they know that the teacher isn't infallible but just a human like them.
  • Don't offer more than is needed to get a taste of what you are teaching. There are only about 100 minutes in a 2 hour lecture so don't try to cram in 4 hours worth of information. It eill only tend to be confusing and they will leave scratching their heads and saying "What did she say????"
I really do miss teaching as it was one of the most fulfilling jobs that I have had. There is nothing that can replace the outcome of one of your students coming back years later and shaking your hand in thanks for a good background in their trade. I have so many good memories of my students that had succeeded and become business owners and employees. I had a near 90% success rate with placing my graduates and that was by far the highest rate for all of the vocational programs at my community college.

I was very proud of that and not for the reasons that one may think.
 
Thanks SO much everyone. You brought up a few points I hadn't thought of. Hugh, the white border is so basic and so often forgotten.

Also aspect ratio and ready made frames.

I think I'll slap a high gloss photo sample from PMA onto a piece of glass to show them what happens. What's that effect called? Mike did that part of the class for me last year as I went blank on the terminology.

And I'll mount some of those samples so they can see the orange peel effect with Speed Mount on thin papers.

And a demo with various kinds of hinges? If you were to pick two what would you show?

This is an all digital class, but they probably print on everything, including high gloss premium papers. They have lots of equipment at the college, but as you say, they won't be there forever.

Oh yes, and framing coupons :-) OK, I'm on a roll.

I'm happy to hear more! Just wanted to say thanks.
 
As an adjunct to Hugh's suggestion to leave a white border around the photo. To suggest that if the photographer is considering a title and signing the photo that, from a framers point of view, to do it on the white border and NOT on the mat.

In addition you might briefly touch on the subject of selling their photos through a gallery and what to expect in terms of percentage to the gallery. Also tell them to call first to make an appointment not just show up with the idea that the gallery owner has nothing better to do than stop on a dime for the photographers sales pitch. This may be the subject of another workshop.

Best,
Tim Hayes
 
BILL WARD said:
"they do NOT teach mat cutting or choosing the correct colors in art school. Keith"
Click to expand...

I said this Bill.... not Keith... Amy did ;)

I graduated from art college.. there was no talk what so ever about matting, mounting artwork or framing it. This was in 96, not sure if they've changed.. I highly doubt it.
 
Two more things come to mind.

The first is that so many photographers are getting
into gallery wrapping photos on canvas. It would be
good to mention the importance of choosing really
good canvas that stays taut once stretched, and inks
that don't crack on the edges when wrapped.
Also, if the image isn't big enough for a gallery wrap
and they need to add some colored space all around,
rather than just extending the image, they need to make
sure that the place where the image and that
colored edge meet is blurred. Having a line there is difficult,
as the canvas can stretch more one way than the other.

Some photographers turn green and faint with disgust at
the mention of gallery wrapped canvases, but chances are
at least some of these students will try it sooner or later.

The second idea is to encourage them to visit
their local photo clubs. These groups are filled with veterans
of the craft who have a wealth of shared knowledge.

So often, new photographers get caught up in what
latest gadgets to buy when what they really need to be
learning is how to light and compose their pictures properly.
A good photo is like a powerfully written poem.
What is left out has a clarifying effect on what
remains, and that really shows up in the work of
skilled photographers.
 
hangupsgallery said:
Tell them to take their work to the nearest custom frame shop! :)
Click to expand...
Steve, your web site just gets better and better! Check out the Round US page, everyone. Very cool. Nice work. Has this brought good feedback?

Carry on everyone...with helping me;-)
 
Kirstie said:
Steve, your web site just gets better and better! Check out the Round US page, everyone. Very cool. Nice work. Has this brought good feedback?

Carry on everyone...with helping me;-)
Click to expand...

Kirstie
Thanks for the kind compliments, yes, folks have seen or Round US page and commented. My only disappointment is that it's a little slow, but if your so inclined, and have the time, it's fun to play with.

As for your up coming class...

I was serious with the comment about "taking your work to the nearest custom frame shop."

We are presently integrating a local art gallery and all their artists into our mix. It is a very exciting move for us. But the most overwhelming part of the process is all the framed art that comes with the process... artwork framed by the artist.

I absolutely cannot believe the shody, dispicable, trashed out framing that artists will put on their "treasures" And I do mean "treasures". Some very high end, super cool art. Hours & hours of laboring over the canvas, putting their heart & soul into these works and then so cheap that they will throw used-beat up-any thing-they- can- get -their -hands -on to encase these labor of loves. There seems to be a real disconnect here. And I know there have been past threads on this topic, but whoa!

My suggestion to your photography students is that they need to consider the entire package when creating and selling their photos. If you can't finish the project, don't start it. If you want to DIY, then go to a reputable DIY framer and get some professional assistance.

ps, did you catch my other thread "it's a small world"? :)
 
"To suggest that if the photographer is considering a title and signing the photo that, from a framers point of view, to do it on the white border and NOT on the mat."

and NOT within 1" of the boarder!!!!!!!!!!! leaves a visually comfortable space for the mat overlay
 
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