How Color Theory Can Help You With Your Framing

Color plays a pivotal role in a visual artist’s work. Having an understanding of the basics of color theory can help create a logical structure for color and help to understand how color is formed. There are three main categories in color theory: The color wheel, color harmony and the context of how colors are used. In this blog post, we will be focusing on color context.

Color context is how color behaves. Meaning, how it is represented in relation to other colors (and shapes). Looking at certain different colors can affect the way we perceive other colors. For example, the way you view the brightness of a mid gray (hue and tone) is altered when placed adjacent to other colors.

Observing the effects that colors have on each other is a starting point in better understanding the relativity of color. One of the ways understanding color can help you is when you are framing your work.

The mat you choose for your work can change the look of your image based on its relationship to the values, saturation and the warmth or coolness of different the hues. Lets look at a couple of examples of how you can use your understanding of color when framing your work.

Nick's Favorite Framing projects from 2017

As we start the new year I wanted to review some of my favorite framing projects from last year. If you see any framing techniques or styles that you would like to replicate with one of your own pieces, stop on down for a one-on-one framing consultation!

Vintage David Bowie Poster

Hand Painted Kenyan Rug & Pillowcase

A Mark Hamill Signed Star Wars Poster

Stephen Sheffield's Hand Sewn Collage

Andrew Seguin's Cyanotypes for Panopticon Gallery's First Exhibition

A Selection from Newport Art Museum's 'be of love and other stories'

Holiday Framing

Everyone has those prized images from their past or beautiful images of their children or grandchildren. You've got to do them justice and get those memories framed. Framed images make great presents for the holiday season or any other time of year. We here at Panopticon have a huge range of custom and ready made frames for your treasured images.

When you come in to the shop, our staff will be there to work with you through all of the steps of framing an image. First we will help you pick out a frame and mat color and shape that suits your image. Then we will discuss mounting and glass options. Our job is to make sure you love whatever display we come up with. We also work within your budget to make your image look the best that it can without breaking the bank.

College Series: What to Spend Your Money On

Its back to school time and we have decided to introduce a college series on the blog. In this series we will discuss issues related to students who are interested in photography and the arts. Welcome to the first of the series: What to Spend Your Money On!

You are in college, You are strapped for cash, but you need some gear and some software in order to make work. Well first off, you are in luck. Most colleges with art/ photo programs, have a "cage" or "lockup". These are places that you can visit to "rent" or check out/ barrow equipment from. You usually need to be enrolled in a related class to have access so check with your school for their particular policy.  That said, these places are great and usually filled with cameras, lenses, tripods and various other gear that you might want to try out. While you can, rent everything and save your money,  don't buy anything you don't absolutely have to. If your college does not have a place to rent items, you can always try to borrow as much as you can from your friends or classmates. Remember you can do a lot with a little!

Freshman year, you shouldn't commit to a camera or equipment that you might grow out of or realize isn't for you. Your first year is a time of learning and exploration. During this time you will be figuring out what you like and what works for you. "Renting" and or borrowing equipment is the best way to try out different things without losing your money.  In most programs there is usually a computer lab staffed by upperclassmen / work study students who are there to help with any questions you might have. These computers labs are usually restricted access like the "lock ups" and are a great resource.  They should have all the software you need so there is no need to pay for a license either.  The message here is just don't spend your money.

Another thing that many students worry about is the cost of printing and framing work. In the beginning, don't bother spending money  printing on fancy papers. Use inexpensive paper to make smaller work prints. Until your work calls for larger sizes, there is no reason to shell out your hard earned money. If you get into a show and need to frame something, simple is usually best. Ask around. The people at the photo "cage" and your instructors will have some recommendations on places that will have what you need, either for do it yourself or full service framing. Don't be afraid to ask if they have  a student discount. We here at Panopticon have a 15% discount with valid current student ID.

So, if you really want to purchase your own gear and software; make sure you will use them. Think of the 80/20 rule. Will you use it 80% of the time or 20% or the time? Do not buy it if you will only use it under special circumstances or just for one project. Most gear, if treated right, will last you a long time, take care of it and it will take care of you. If you feel you must purchase something, make sure you have tried it out for a while before you purchase. If your school doesn't have something there are  brick and mortar and on line rental houses that probably do. They often have a weekend deal on rentals. Usually if you pick up on Friday and return Monday they don't charge for Sunday. Now with these places you are spending some money. This can be a good investment what if that piece of specialty gear just wasn't what you expected? or that camera really didn't make the images you wanted? some money spent but more saved.

What if it was all that and you have to have it? Well the used market is the place to start. Again ask around at your school. Chances are some one has something they bought and no longer need. If not those same instructors and "cage" staff know of the local or on line camera dealer where you can pick up what you need with a warranty at a fraction of the cost for new. Oh and those rental houses, they often are selling off gear they don't need any more some give them a look as well. Remember in a few years you might be the one putting up flyers to sell that piece of gear you needed so badly. It happens, what you thought you would be doing for the rest of your life in freshman year might be very different from what you are doing in your senior year. This is what college is for figuring all this out, finding what it is you want to do and growing as an artist and person.

Our best advice is to save your money for food, rent, and / or experiences that you would like to have in your college years before you graduate and lose access to all the wonderful things in the "lock up/Cage" for ever. Rent before you buy, and buy used from a reputable dealer if you do decide to buy. That and make lots of work!

Custom Wood Frames

We love these custom wood frames from a local wood worker. The details and precision are amazing! Each molding can be made with Ash, Cherry, Maple, and Walnut woods with the option of staining or painting.

Here is Tony King's photograph we framed with the clear lacquered ash & maple splines:

Assembling the matte, glass & frame

Finished framed photograph

Detail of the maple spline

One hanging option: french cleat

Second hanging option: wire with d-rings

Artist Spotlight: Fern Nesson

Fern Nesson is a fine art photographer living in Cambridge, MA. She practiced as a lawyer for twenty years and taught history at the Cambridge School of Weston and, for the past ten years, she was the College Advisor at the Commonwealth School. Fern is currently in her first year of the MFA program at Maine Media College. Her abstract work is rooted in the elegance of light and line and is currently on display in our gallery until May 14, 2016.

"Light Lines 1"

• You have a background in law, how did you transition into the art world?

FN: I have taken a long journey through many, varied careers – lawyer, American historian, fiction and non-fiction writer, history, math and law teacher, college counselor -- but the spine of photography has run throughout my life. My father gave me my first camera when I was 8 and he taught me to develop my photos in the darkroom not long after. Since then, I have been engaged in looking at the world through a camera.

Until recently, photography was my hobby. I knew several great photographers (my father included) and followed their work with interest. About ten years ago, I interviewed my father and we published a book of his work. I have also collected photographs for many years. I am proud to own photographs by Michael Kenna, Ansel Adams and Bruce Cratsley, among others.

Several years ago, I decided to pursue my own photography more seriously. My initial goal was to learn to take better photos. I began by reviewing my past work and publishing several books of my photographs. Then I took a workshop in photography at the Penland School in North Carolina. Finally, last year, I quit my counseling job to do photography full-time.

It’s taken me a long time to accept the challenge of pursuing life as an artist but I am so thrilled to be doing it! Photography provides, as always, a wonderful way to experience the world and the improvement in the quality of my work as a result of studying and practicing it full-time is immensely rewarding.

"Morning Light 1"

• You are currently attending the low residency masters program at Maine Media, tell us a little bit about the program. How has your work changed since starting your studies there?

FN: For my first semester, I am completing synergistic studio and academic projects, both entitled “An Exploration of Seeing.” Since November, I have taken over 20,000 (!) photographs, read a dozen of the great books about “seeing ” and written three lengthy papers describing the evolution of my own artistic vision. As an intellectual and artistic experience, a Maine Media education can’t be beat!

"Light Lines 3"

• Your abstractions of light and shadow show a playful & insightful side to subjects we see everyday. How do you choose what you point your camera at?

FN: Light is the theme in all of my work. I don’t shoot objects for themselves; I shoot their interaction with light: are they illumined from within? Are they transparent? Are they reflective? Are they suffused with light? Do they glow? Are they in shadow? Do they sparkle? My subjects are quite varied but it’s all about the light.

"Morning Light 5"

• What inspires you as an artist?

FN: I am drawn to elegance. In choosing a subject or a scene, I seek elegance in pattern, line, color and shape. I prefer the intricate, small detail, over the panorama. My photographs are abstract but not in the sense of removing detail; just the opposite. I focus on an element and I abstract it through the use of an unusual perspective or point of view.

"Light Lines 5"

• Your current exhibition in our gallery space is a selection of images from various portfolios. How do you feel the individual pieces interact with one another as a whole?

FN: The photographs in my show, “The Light Dances,” are selected from three different series, which I shot in 2015-6. Although they are of radically different subjects – trees at night, a Calder stabile, and the curtains in my bedroom – they have certain underlying and essential characteristics in common.

First, they are each about light: light as it illumines and ennobles a dark object, light as it enhances a sculpture by throwing off shadows, light as it sparkles and brightens a cold winter landscape.

Second they are multiples. Varying the point of view on a single object takes advantage of all angles of the object and allows maximum concentration upon its interaction with light. The multiplicity of views points up what is so great about our existence: we all see things differently from each other and it is that very diversity that makes art and life so interesting.

Third, they use the power of black. Light as a subject shows up so beautifully when it is contrasted with black. Color can seem sometimes to be cheating; it can make even a dull picture interesting but black is a challenge. If you use it well, you get drama; if you use it badly, you get nothing.

"Stabile 1 - 4"

Packing Tips: Safe ways to wrap & handle Your Artwork

Here at Panopticon we have seen it all for packing material; Blankets, towels, trash bags or worst of all nothing. Framing is expensive and we have some tips on how to keep your frames and artwork safe!

1. Cardboard Corner Protectors

You can always DIY them yourself using scrap cardboard, buy them from Amazon in small batches or order bulk from Uline. This will prevent any rubbing / scratching of the frames. Corners are helpful if you have multiple frames that are all the same size. However, this will not protect the whole frame or the glass/PlexiGlas.

1. Properly Stack them

Make sure to stack your frames vertically and to place them glass to glass and back to back while storing them. This will prevent the hardware from rubbing against your frame. The metal hardware and wire will ding the wood or scratch metal frame very easily. This goes for when they are wrapped or unwrapped.

1. Bubble Wrap

Keep your towels for the beach! While towels might be helpful at home this is not a good or effective solution for preventing damage, as there is no spring to the towel. Foam wrap or bubble wrap will take the impact and prevent your frame from getting damaged. You can order bubble online, pick it up from Uline or your local office supply store.

1. Use Two Hands

Always pic up your frame using two hands! If it is a large image and you grab it by the top it can pull and your glazing can pop out of the frame. Ten and two just like driving school.

1. Have us wrap it for you!

If all of this material is too much to handle we can ease your burden! Wrapping images properly is fun for us. We take care of your beloved artwork and make sure it is safe for handling and transport. If it is local we can deliver it for you or even ship your images. Let us know!

UV Glass – Small Upgrade that makes a BIG difference

UV Glass is like putting sunglasses on your artwork without any tinting and all the benefits!

The upgrade from premium clear (regular glass) to UV Glass (conservation clear) is not an expensive jump in price.  It is usually only a few dollars difference (depending on size). This way when you hang your artwork you don’t have to worry about the sun fading it!

Artist Spotlight: Lindsey Beal

"Foundations" (Daguerreotype)

Lindsey Beal is a photo-based artist in coastal Rhode Island where she teaches at Rhode Island School of Design, Massachusetts College of Art & Design and the New Hampshire Institute of Art's MFA program. She has an M.F.A. in Photography from the University of Iowa and a Certificate in Book Arts at the University of Iowa’s Center for the Book.  Her work can be found at Boston's Panopticon Gallery, Miami's Dina Mitrani Gallery and Portland's 23 Sandy Gallery. Her work combines historical & contemporary women’s lives with historical photographic processes. She is interested in the photograph as object and often includes sculpture, papermaking and artist books into her work. Her work has been shown at national museums, galleries & universities, including recent solo shows at the Griffin Museum of Photography and Danforth Art Museum.  She has been featured on Lenscratch,  LensCulture, Light Leaked, & Don’t Take Pictures and has been published in Diffusion, The Hand, Square Magazine, View Camera and 500 Handmade Books Volume Two.  She recently earned a travel grant from Duke University and the Juror’s Award for Medium Festival’s “Size Matters” exhibit.

"Figure #19" (Ambrotype)

• When and why did you first start using alternative photographic processes in your work?

LB: I originally worked in silver gelatin and then color film, first printing in the darkroom and then scanning my film. When I was applying to graduate school, I knew that I wanted to learn alternative photography but I didn’t know that I would end up working pretty strictly in those processes! Two things were the catalyst for that. First, I was working all-digitally in my “Reproduction(s)” series and missed the tactile and physical work of the darkroom. This lead me to go back into the darkroom but working with historical photographic processes, as well as with printmaking, artist books and papermaking. Secondly, through studying the history of photography (which I love!), I was frustrated by the lack of explanation of what these processes were and how they were done. While there are some great videos now created by the George Eastman Museum and the like at the time, I wanted to see how these iconic images were made--not a short summary in the margins of a textbook or as a label on a slide. I think if you see how a daguerreotype was made, it makes the history of photography so much more real and you appreciate how hard it was to get those first images.

"Ball Grip" (Ziatype)

• How has your work evolved and changed throughout the past few years?

LB: My work continues to explore combining historical photographic processes with women’s lives past and present and has recently focused on how women use technology for pleasure. I am also exploring clothing such as corsets and stays that changed women’s bodies, as well as historical OB/GYN tools used in delivering babies. However, I recently opened up this idea of how the past is present that runs through my work by looking at how social media is similar to the Victorian practice of keeping commonplace books. So this idea of technology and how the past & present overlap, could be something I continue in future work.

"Diaphragm"  (archival digital)

• You recently attended a workshop on Daguerreotypes taught by Jerry Spagnoli at Penland School of Crafts in North Carolina. Can you give us a look into that week learning this historical process?

LB: Penland is incredible and I would highly recommend it to anyone who wants to learn a new craft or process, or to get inspired by working with instructors who are world-renown in their craft and to be with other like-minded creatives. The daguerreotype (becquerel) class was the shortest session I attended at Penland (one week!) to learn this intensive process. But Jerry is an incredible educator and we all came away with some incredible plates and a firm grounding in the process. Generally, at Penland there are demos all week so you get a comprehensive education in the process and then practice it yourself with guidance by the instructor and studio assistant. In the evenings, there are artist talks, open house & art openings and plenty of time for inspirational conversation. One thing that is a strength for a place like Penland, is that there is a lot of room for collaboration with the other studios and with your classmates. I have attended three times and have seen some beautiful collaborations between photography and the book arts & letterpress studios.

• Tell us a little bit about your current solo exhibition at the Danforth Museum of Art in Framingham – how did the exhibition come to be & how did you work on the installation? In a way this show is a retrospective for you and it includes most of your projects – how do the individual pieces interact with one another as a whole?

LB: I was first introduced to the Danforth with their call for entry for their photo biennial two years ago when Francine Weiss juried the show. That show, artist talks and openings introduced me to so many in the New England photography community, (many who have become close friends). Jessica Roscio is the amazing curator there and we got along so well, bonding over photo history and early women photographers. We stayed in touch, meeting a few times with my new work. As curator, she invited me to be in a show she was curating on the interior and domesticity. This summer I brought all of my work to the museum and we went through it, with Jessica pulling work that worked together and addressed the show’s theme of making the private public. You are right that “Private Lives, Public Spaces” is a retrospective (minus my cyanotype work) and for me it is pretty amazing to see all of my work in one space. Although all of my work addresses past and present women’s lives, usually using historical photographic processes, I compartmentalize my work into separate series. To have them all interacting with each other in one space was overwhelming in a positive way. The dialogue that occurs between the series in the way that Jessica installed and curated it brings out the common themes of the work.

"Venus Figurine" (handmade paper & bell jar)

• Because your work is rooted in alternative photography how does presentation come into play? For example your “Transmission” series are all presented in Petri dishes with gold metal labels fixed to the frame. Do you have the end exhibition in mind when you first begin a project?

LB: Since I began working in photography, I wanted to present prints in a non-traditional format that encourages viewer interaction or creates pieces that act as three-dimensional objects. Early on, I created installations using fabric and scrolls or silver gelatin prints. From there I created wallpaper from my photographs to completely cover a space. Even my wet plates from my “Venus Series” were originally installed unframed on a picture rail that blended in with the gallery wall.   I create the prints first with the idea that they will altered in some form or turned into objects. The work’s content needs to fit with the installation or sculptural process so some time and research is needed with the prints. For example, with the “Transmission” series, I took cyanotypes and created circular prints, embedding them in resin within a glass Petri dish. From there, I took inspiration from Victorian natural history museums and the way they present specimens using glass and wood cases. I mounted the plates with copper wire in shadowboxes and used the Latin names of each STD which were engraved on brass name plates.

"Bacterial Vaginosis" (cyanotype embedded in resin & petri dish)

• How has modern technology played a role in your approach to such historical processes?

LB: I incorporate digital photography, editing software like Photoshop and inkjet printers to print my negatives into the historical processes I use. Although I work in historical photographic processes, traditional bookbinding and papermaking, for me, these processes can still utilize contemporary technology. These processes force me to slow down and focus on the process, yet with digital technology, I can slightly speed up my workflow. Being able to use digitally edited images and printing them as negatives through an inkjet printer onto materials like Pictorico film gives people the option to go back into the darkroom. In this way the historical and the contemporary can be easily combined.

"The Electric Coronet Beauty Patter" (Ziatype in vintage case)

The bling bling frame

We recently framed a piece for a client in a beautiful water gilded frame and wanted to share the intricate process the frame makers go through to create such stunning frames. https://www.youtube.com/watch?v=67LM4Iovll4

The term gilding covers a number of decorative techniques for applying fine gold leaf or powder to solid surfaces such as wood, stone, or metal to give a thin coating of gold.

Here is the frame we used:

Jaime Johnson - Same print, Different presentations

"Spine" Courtesy of  Jaime Johnson, Tea-toned cyanotype on Japanese rice paper

Don't Take Pictures Magazine is a biannual print, online & tablet-ready magazine run by Kat Kiernan who is receiving this years Rising Star Award at the Focus Awards hosted by The Griffin Museum of Photography.

The online magazine also sells an exclusive limited edition images by an artist featured in the magazine. Working with the artist, they select an image, which is then hand-printed by the artist, signed, numbered in an edition no higher than five, and priced below $200. Because they believe in helping emerging artists build their careers, the full amount of the sale goes to the artist!

First, let us say that this is a FANTASTIC print program that not only helps the artist but opens the door to smaller or new collectors. Liz & Shannon from the office recently purchased the same beautiful print by Jamie Johnson through the program. Since presentation is a big part of what we do here at Panopticon, we wanted to show the way that each print was framed to suit the collector's taste.

Shannon's Frame:

- 8ply mat board

- slight bottom weight

- decorative brushed silver & gold wood frame

Liz's Frame:

- 4 ply mat board

- heavy bottom weight

- dark natural wood frame with a silver beaded fillet

About the artist:

Jaime Johnson grew up in Mississippi where the sounds of wild animals outside her window became her daily melody.  Jaime received her BFA from the University of Mississippi in Imaging Arts and her MFA in Photography from Louisiana Tech University. Johnson was awarded Honorable Mention for her experimental short, Flutter in the 11th Annual Oxford Film Festival in 2011.  Jaime was named a finalist for the 2015 Clarence John Laughlin Award and her work has been shown nationally in venues such as the Center for Fine Art Photography, The SOHO Photo Gallery in New York, The New Orleans Photo Alliance, and the Ogden Museum of Southern Art . Her work has been published in Shots Magazine, Don't Take Pictures, Light Leaked, and Seites, and her series Untamed recently won the Grand Prize in Character: Portraits and Stories that Reveal the Human Condition, sponsored by Maine Media Workshops.

Make sure to check out Jaime Johnson's website and Etsy shop!

Sum sum summertime- that's a wrap!

Whoa! Summer is always an exuberant time to go down the Cape, have some BBQ and for us down at Panopticon Imaging, make work! Our artists have been busy, so we have been having a great season of working with them on finalizing images, prints and exhibitions! We were so excited to work on so many of these projects we lost track of the time, but don't worry- there were a few outing with the Panopti-crew where we were able to steal some sun and fun. We ushered in the season with quite a bang at the Magenta Foundation's Flash Forward Festival! We have been working with the Festival and it's artists for the last three years, and it is always fantastic and quite a different array of work every time.

This year we helped with the printing and installation of the 7 shipping containers that were on the Rose Kennedy Greenway for all of May! In coordination with the Fence, this outdoor exhibition was so much fun, and such a great experience working with the international artists that made up the roster. Each shipping container held a solo exhibition from artists like Angélica Dass and Gregor Schmatz. 

Angélica Dass's solo exhibition in the shipping container.

Along with the Fence, we had the great pleasure of working with Boston Globe Legend Bill Brett on his Flash Forward solo exhibition.   We take great pride in managing and implementing all production for these kinds of exhibitions- from the proofing with the artists, printing, framing and even delivery to the exhibition venue.  This was the fist of the two large-scale exhibitions we helped produce at the beginning of this summer, the second being a brand new relationship we started with artist Emil Cohen!

The crew with Emil Cohen at the William Scott Gallery

Emil Cohen came to us for assistance in producing his solo exhibition, "Portraits in Provincetown" at the William Scott Gallery that was held in July.  The exhibition would be of 76 portraits he made of the good people of Provincetown, both large and small scale to be displayed.  The portraits are beautiful as well as playful and sometimes mischievous- just as you might expect from P-Town. Working from London now, Emil needed to produce the exhibition remotely, and we were happy to take on the task.  When the exhibition was finally ready for air-time, we took that opportunity to join him in P-Town for a little out-of-office research and development.  We hope if you were there this summer, you were able to see Emil's work, or him photographing for the project!

Our whole summer did not just consist of large-scale exhibitions, though.  We work on any photographic endeavor, and were happy to work on both printing and framing projects for a multitude of new clients.  Artists such as Lazaro Montano stopped by to have one of his great Color Block pieces printed and framed; as did Toni Pepe, who had some of her new work in this summer's Community of Artists exhibition at the Danforth Museum of Art.  It was also great to do some expert framing for the end-of-summer exhibition Landscape as Fetish at Gallery Kayafas, introducing us to the work of Angela Mittiga and Mark Dorf. 

Finished framed work by Lazaro Montano

It has been a delightful season, and we hope that the fall brings even more exciting projects as we get to see what everyone has been working on all summer! And don't worry, we haven't slowed down one bit.  We are currently preparing artist Betsy Schneider for her exhibition at Harvard's Carpenter Center, and looking forward to the great work that will be in the Griffin Museum of Photography's annual Atelier exhibition in September! Stay tuned for more, and have a great rest of August!

Jane Mansfield & Sofia Loren Iconic Image

This iconic image of Jayne Mansfield and Sophia Loren came in other day from a wonderful client. Needless to say we were so excited to frame this beautiful image. This image was taken at a party at Paramount Pictures in Hollywood. Loren is quoted as saying:

"Paramount had organized a party for me. All of cinema was there, it was incredible. And then comes in Jayne Mansfield, the last one to come. For me, that was when it got amazing. . . . She came right for my table. She knew everyone was watching. She sat down. And now, she was barely . . . Listen. Look at the picture. Where are my eyes? I’m staring at her nipples because I am afraid they are about to come onto my plate. In my face you can see the fear. I’m so frightened that everything in her dress is going to blow—BOOM!—and spill all over the table." Full article in Vanity Fair Magazine.

Girls, Guns and Glory - Pledge Music

Girls Guns and Glory is local band raising money for a new band through the Pledge Music Project! As a reward, the band is offering limited edition posters from their first album cover.

We are happy to lend a hand in the printing and framing of this original artwork, and hope you'll support the band and others like them in making the world a more interesting place. Check it!

One Stop Shopping for Exhibition Production

What is one stop shopping for exhibition production? Here at Panopticon Imaging we can assist you with all phases of your exhibition from file upload, paper selection, printing, scanning, image editing, image sequencing, framing consultation, custom box building and delivery! Planning an exhibition is exciting and nerve-wracking.  We work directly with you to make the production process as stress free as we can.

To start all you have to do is upload your images to our website. We can also create a secure FTP login for you, if you are printing over 10 large files ( over 10GB).  Most recently we have worked with the Flash Forward Festival to produce the exhibition "Boston: Irish" for Boston photographer Bill Brett.

Framing doesn't have to be a daunting task. We have a vast variety of mounting, matting and frame moldings for you to choose from. We are more than happy to assist in selecting the frame that will highlight your artwork and convey your visual aesthetic.

Once the exhibition is all framed. We take meticulous care of every photograph by individually wrapping and photo cornering the images. Also, on large scale shows we can mark each image with the thumbnail print out on the outside wrapping. This makes the installing easier as you can sort all of the images.

Also, we can create all kinds of boxes for photographs. Are they getting shipped? Or transported on a van for local delivery? We do not buy pre-made boxes instead we customize everything for you. Each box is built by hand to ensure that your images arrive in perfect condition. We created half boxes for these images for delivery to Boston. This will protect the images from shifting during transport.

We have a delivery van that can accommodate images up to 56x70 inches in width! We can make deliveries on request to Connecticut, Maine, Massachusetts, New Hampshire, New York, Rhode Island and Vermont.

Here at Panopticon we try and make it as easy as possible for so you can enjoy your opening! For more information on Bill Brett's work check out his website here.

Staff Intro: Nick Schietromo - Framer Extraordinaire

Nick Schietromo is our framer and has been with Panopticon for about 2 years! When you visit the office he can be seen working behind our professional matting and framing table. He is very meticulous, thorough framer and a talented photographer too!

One of things that sets us apart from other companies is that almost all of the staff here are working artists. Nick's work has been exhibited in such galleries as the Nave Gallery, New York Center for Photographic Arts,  The Photographic Resource Center , Gallery at Panopticon Imaging and the Vermont Center for Photography. Not to mention he was an Honorable Selection for the 2015 Magenta Foundation - Flash Forward. Also, we share Nick with Gallery Kayafas where he is the Assistant to the Director. Any questions concerning printing and framing presentation are welcomed and returned with valuable insight from Nick.

https://vimeo.com/112804347

Some facts about Nick. He loves cult classics,  collecting vintage images at the Brimfield Antique Show,  snacks, tattoos and vinyl records.

Lindsey Beal - Lost Art of Daguerreotypes

Rhode Island based artist, Lindsey Beal brought some of her recently created Daguerreotypes into the office for framing. She made these photographs while at a workshop at the Penland School of Crafts in North Carolina. Also, she teaches at Rhode Island College and New Hampshire Institute of Art. Daguerreotype, an alternative process, has become a lost art form due to the labor involved in creating them. The process was first created in 1839, the artist polished a sheet of silver plated copper, treats it with fumes that makes its surface light-sensitive. Then the plate is exposed in a camera.

Ms. Beal reviewing her work with owner, Paul Sneyd.

 Liz framing Ms. Beal's daguerreotypes

Handmade Wood Frames

We now have these beautiful, handcrafted frames made locally. Bring in some of your beautiful photographs and we will frame them in these amazing frames! All are made custom for our clients. Natural woods, dove tailed, stain and spline options which are meticulously assembled for your next project.

Shadowbox Framing

Here at Panopticon we get asked to frame a large variety of objects. From seashells to sports jerseys, World War II propaganda posters and don't forget coffee mugs! These hand-painted masquerade masks were a first and were brought in by a long term clients of ours. We had a custom shadowbox built and Bruce went to task arranging the items for display. We couldn't be happier with its seamless display!