Digital BW, The Print

Arthur Fink wrote:

> I always sign my prints, but then I cut an overmat with opening 
> slightly smaller than the printed image.  I also sign the mat.

This is what I do, particularly if the paper is brightened.  I think 
a bright paper margin pulls the eye out of the image.  The eye being 
attracted to the brightest spots is one of the compositional tools I 
(and I suspecnt most) routinely use.  

With un-brightened papers I do often have a paper border with 
signature showing. 

Frankly, it's also just easier to overmat the image a bit.  A margin 
that is not even really bothers (the Monk in) me.  Mat cutting being 
less than perfect adds to the frustration.   
 
> But I see other photographers signing and numbering just the print,

Numbering is a whole different debate.  I no longer do that either.

> and cutting an overmat with a larger opening so that the 
> signature on the print shows.  ...
> I'm told that galleries prefer this, although visually I tend to 
> prefer seeing the mat opening right against the edges of the print 
> (with perhaps 1/16" of the print hidden).

I'm with you.  I think overmatting the image a bit just looks better.

I've noticed a trend to doing this more in the museums and galleries 
I visit.  (The A. Adams family was a bit upset when a local museum 
overmatted AA's signature on a display of some of the family's 
collection of his prints.)

Paul    
www.PaulRoark.com