Pixiq

A good presentation makes even mediocre artwork look better than it is. A great presentation makes good art dramatic, memorable and very salable. This is something every art school student agonizes over, when it comes time for that final portfolio review. When you think you’re ready to sell, you’ve got to create a portfolio on steroids. Now you’re playing for keeps!

It goes without saying that your photographs have to stand up to critical technical inspection, and more. You have to have a visual hook, something different from competitors. In landscape work, there are lots of wanna-bees and lots of experts as well. Larry Johnson is a photographer’s photographer. As he toured me around his gallery, he rattled off technical tidbits and inspirational remembrances. He is a rapid-fire fountain of information, such as detailed camera settings and one minute exposures at dusk, his favorite time of day. Actually he told me to the second what his exposures were and whether he locked up the camera mirror. (He almost alway does.) 

It’s often said that releasing the shutter is about 10% of what a photographer does. Maybe less in Larry’s case. A lot of steps come before and after the exposure. First there is location scouting before making travel plans for the right time of year and the right time of day. On site, ideal weather, light and sky seldom come together on your schedule. We usually think of Henri Cartier-Bresson’s “decisive moment” as applied to candid pictures of people and action. Larry’s approach show us the same is true for the landscape photographer. You have to be patient with nature; when she is finally ready for you, you often have only moments to capture the show of light.

Previsualization of composition, angle and lens are essential. Then you have to be ready to wait for just the right moment.

Because he uses film, Larry likens his process to “opening Christmas presents”. 

His workflow is analog - digital- - analog: film - 400MB drum scans - LightJet photo prints. Film and medium format force the photographer to be reflective, patient and contemplative; anticipation mounts, and when the developed transparencies arrive, there’s a burst of excitement better than any gift. Yes, he does some digital manipulation, mostly to correct dynamic range, but never resorting to the overdriven sharpness or saturation that are currently prevalent. Consequently, his photographs look real - so real I was able to sense his emotion, his intimate connection to place. Bravo!

The “goods” (great photos) are of course essential, but they only are the initial building blocks of what I call the “business of art pyramid”. If you want to sell your work, both the pinnacle and the foundation of the pyramid consist of presentation. That means everything from sizing and framing pieces to choosing a venue, lighting and arranging. The hidden must-haves are discovering, understanding and attracting the client base who have both the means and need to purchase art. 

Larry says, “We lose sleep trying to figure out how to market. People don’t buy art until they’re ready. We usually don’t make a sale on the first visit. Everything we do in designing the gallery presentation is meant to slow down the pace of a visit and promote a more lengthy look at the images. Dramatic spotlighting, like a theatre set with no general overhead illumination, and slower tempo background music by indie artists (which is for sale on CD) are very important parts of the ambience.”

 To me, the most striking element of the gallery is that it doesn’t look like a chilly museum, nor even like a typical upscale gallery. It’s an experience, an invitation to enjoy. Larry shows only his photography with no other two dimensional art. But the gallery space is filled with all kinds of interesting crafts and artistic gift items from local artisans - wood, metal, stone, lamps, ceramics. Plus, there are places to sit and just take a moment to breathe in the beauty of nature.

Larry explains that “The juxtaposition of a variety of artistic items is just one part of my sales vision. In fact I do the same thing with my wall pieces. I hang work to emphasize contrasts: fall beside spring, horizontal beside vertical, pictures with lots of detail beside ones that have geometric shapes, bright colors beside soft, subdued hues. This juxtaposition technique, along with dramatic spot lighting, which I change to suit each individual piece, keeps the visitor’s interest high and promotes both discovery of something new and recognition of familiar places and emotions.”

The result  of Larry Johnson's Gallery is a dual feeling of comfort and excitement for the lucky visitor. And a new understanding of why and how to buy art for the home or office - art that happens to be photography.