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Era Black White

Framing Black & White Photography

Black and white photographs have remained popular since their inception roughly 150 years ago. The ability of black and white images to fit many decorating styles has contributed to their increased popularity. As such, people have become more open to alternative, more sophisticated framing designs for these items.

 

How to best frame a black and white photograph is a subject for much conjecture. A plain and simple picture frame to take nothing from the art, or a more complicated frame to complement the subject matter? Add colour in the photo frame design to help draw the eye to the picture, or stick with an unyielding two-tone approach to ensure dramatic elegance?

 

So where does that leave us? Well to be honest somewhere in the middle. The fact is that there is as much diversity in black and white photography as in any other art form. Think of it this way, if we asked everyone to dress in the same way the look would suit a few but be terrible for most. However, there are some simple conventions and techniques you should keep in mind when framing black and white photos.

 

• Some framers believe a pristine white mount is best for all black and white photos, on the basis that it does not detract from the picture itself. However, for pictures with a white focal point, a pristine white mount can be too bright and will compete with the photo for interest.

 

• Another common mistake is to try to ‘lighten' dark art by surrounding it with a light mount. In reality, a light mount border causes the dark colours in the photo to look even darker.

 

• Mounts should be black, white or grey in colour. Any other colour adds a constituent that isn't present in the picture. If you have a customer who insists on a colourful mount, a common suggestion is to go for a white mount with a small accent of colour as a second mount. However, this accent actually pulls the eye away from the photo. A better solution is to use the colour as the predominant top mount and place the accent of black or grey below it to work as a transition into the photo. With all that colour adjacent to the photo it isolates the photo, in effect, drawing attention to it.

 

• When it comes to the picture frame moulding, consider the era, style and location of the photograph. As in framing any art piece, each frame must enhance the style and mood of the photo itself. Many framers believe you should stick to a narrow, basic photo frame for black and white photographs, but this may not match up with the subject of the photo. For example, a picture of an ornate piece of architecture may look better with a more classical picture frame design.

 

• Elongation is often a good treatment for portrait photographs, images with vertical subjects or strong vertical lines. By making the top and bottom borders wider, it dramatises all those vertical elements.

 

• A mountslip which matches the moulding can create a strong, classic outline around the photograph. This helps pull the viewer's attention in from the frame to focus on the picture. Mountslips can also help enhance the customised appearance of the design, adding character and perceived value.

 

When any item is framed properly the frame design should add a sense of value to the finished product. So a good frame design will help a mediocre shot look good and an unimaginative framing job will bring even the best picture to the level of a cheap poster.

Remember, just because the subject lacks colour doesn't mean the framing should lack imagination.

 

For more help or to discuss any of the points raised above please do not hesitate to contact us or visit us in person.

 

About the Author

Photo frames and Picture Frames Manufacturer - Online retailer of quality wooden photo frames. 20 years experience in all aspects of picture framing and photo frames

The Swing Era $26.95 Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it "a remarkable breakthrough in musical analysis of jazz," and Frank Conroy, in The New York Times Book Review, praised it as "definitive.... A remarkable book by any standard...unparalleled in the literature of jazz." It has been universally recognized as the basic musical analysis of jazz from its beginnings until 1933. The Swing Era focuses on that extraordinary period in American musical history--1933 to 1945--when jazz was synonymous with America's popular music, its social dances and musical entertainment. The book's thorough scholarship, critical perceptions, and great love and respect for jazz puts this well-remembered era of American music into new and revealing perspective. It examines how the arrangements of Fletcher Henderson and Eddie Sauter--whom Schuller equates with Richard Strauss as "a master of harmonic modulation"--contributed to Benny Goodman's finest work...how Duke Ellington used the highly individualistic trombone trio of Joe "Tricky Sam" Nanton, Juan Tizol, and Lawrence Brown to enrich his elegant compositions...how Billie Holiday developed her horn-like instrumental approach to singing...and how the seminal compositions and arrangements of the long-forgotten John Nesbitt helped shape Swing Era styles through their influence on Gene Gifford and the famous Casa Loma Orchestra. Schuller also provides serious reappraisals of such often neglected jazz figures as Cab Calloway, Henry "Red" Allen, Horace Henderson, Pee Wee Russell, and Joe Mooney. Much of the book's focus is on the famous swing bands of the time, which were the essence of the Swing Era. There are the great black bands--Duke Ellington, Count Basie, Jimmie Lunceford, Earl Hines, Andy Kirk, and the often superb but little known "territory bands"--and popular white bands like Benny Goodman, Tommy Dorsie, Artie Shaw, and Woody Herman, plus the first serious critical assessment of that most famous of Swing Era bandleaders, Glenn Miller. There are incisive portraits of the great musical soloists--such as Art Tatum, Teddy Wilson, Coleman Hawkins, Lester Young, Bunny Berigan, and Jack Teagarden--and such singers as Billie Holiday, Frank Sinatra, Peggy Lee, and Helen Forest.

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Music of the Postwar Era $60 At the end of WWII, themes in music shifted from soldiers' experiences at war to coming home, marrying their sweethearts, and returning to civilian life. The music itself also shifted, with crooners such as Bing Crosby and Frank Sinatra replacing the Big Bands of years past. Country music, jazz, and gospel continued to evolve, and rhythm and blues and the new rock and roll were also popular during this time. Music is not created without being influenced by the political events and societal changes of its time, and the Music of the Postwar Era is no exception. *includes combined musical charts for the years 1945-1959 *approximately 20 black and white images of the singers and musicians who represent the era's music

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Deering 5-Golden Era 5-String Banjo $3549 A maple, prewar style bluegrass banjo made like the classic banjos of the 1930's with the same materials and the same weight, design and features, the Golden Era is one of Deering's most popular banjos for traditional bluegrass bands. If you're looking for that classic bluegrass banjo tone and look - this is the banjo for you. Adorned with a traditional hearts & flowers inlay pattern, this banjo has the appearance and feel of the prized banjos from the 1930's. It is designed to produce the most sought-after sound, a sound previously only achieved by five-string banjos of the pre-war era. This beautiful banjo has a Genuine Deering -06- 20-hole bell bronze tone ring. The drum assembly and neck shape are designed for the traditional crisp and strong bass notes as well as the distinct clear high tones of the cherished bluegrass sound.A powerhouse banjo with a superbly crafted traditional tone and appearance. The 20-hole tone ring, traditional flange, 3-ply rock maple rim, deep resonator, and slightly thicker neck re-create the classic banjos of the 1930s. The Cremona violin sunburst stain enhances the beautiful curly maple neck and the resonator's volume and timbre. Hearts-and-flowers mother-of-pearl inlays on the ebony fingerboard and double-cut peg head meld traditional style with Deering's world-renowned quality.Tone:The Golden Era has a larger air chamber like the Tenbrooks banjos which gives the banjos a more resonant hollow sound with deep bass response for a traditional prewar bluegrass sound. Clear, bright highs and resonant deep bass notes.Neck:Curly MapleCremona Sunburst StainTraditional Fuller Neck ShapeEbony FingerboardHearts & Flowers Mother of Pearl InlaysTrimmed with White/Black/White BindingBone Nut22 Glued in Nickel Silver FretsTraditional 5th-String NutWhite Binding with Black/White TrimDeering Planetary TunersDeering Geared 5th String TunerPot:Polished Deering -06- 20 Hole Bell BronzeTone RingGolden Era Violin Grade 3-ply Maple RimNickel Plated Traditional Style Zinc Flange11" Top Frosted Medium Crown HeadDeering True Tone TailpieceNickel Plated HardwareResonator:Deeper Resonator Sound ChamberThe Resonator Sides are Specially Tapered on the Inside for Projection of ToneCurly Maple with Cremona Sunburst Stained ResonatorWhite Binding with Black/White TrimHigh Gloss Finish

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Era Stainless Steel Wall Clock - Medium by Blomus® $57.5 Blomus® offers sleek, modern products for the home. The Era Stainless Steel Wall Clock features a round stainless steel frame with black easy-to-read markers on a white background.Features: Stainless steel finish White face with black display markers Includes 1 AA battery Color: White Size: 11 7/8" diameter x 2 1/4" deep