Photo life. Materials for decorating photographs How to arrange a photo exhibition with mother’s photographs

September 10 at the yacht club " Scarlet Sails» a photo exhibition about the life of foreigners in Russia has opened. The author of thirty black and white photographs is 23-year-old Svetlana Privalova (). Having self-proclaimed myself a “coordinator”, I decided to help with the organization - just to “weakly” take the unattainable heights of a personal exhibition in Moscow.

The project was called “The Rule of Five Looks.” Its implementation lasted about six months - during this time we met countless expats, eventually selecting five - very different and sociable enough to withstand participation in our venture.

Frank Ebbeke from Germany has been living in Russia for 13 years, but still does not speak Russian - the first “character” of the project. He introduced Privalova to another participant, Thomas Kesler from Austria, a chef at the Marriott Hotel. Thomas came to Russia 4 years ago, when he decided that working in Moscow was much more interesting than in America - although he was also expected to work there.

Ram Kumar came from India 15 years ago. He is very accustomed to Russia and now considers our country much more “comfortable and familiar” than his native India, where Ram tries to travel only in winter - the summer heat there seems unbearable to him. Chinese Yao Yao is the only girl who took part in the project. Yao Yao graduated from a Russian university and stayed in Moscow because she fell madly in love with her (and the Russian Mitya). Now she works for the Chinese corporation Huawei and considers herself the happiest Chinese woman living in Moscow.

Marcel Yoko from Congo is a musician and record holder for the longest residence in our country; he has not left its borders for 18 years. By first education, Marcel is a biologist - he graduated from Krasnodar State University. Then he lived in St. Petersburg, and now he has reached Moscow. Here he created the group “Sun Music” and teaches French.

After a couple of months of chasing these people with a camera, Svetlana received gigabytes of footage on which they lived their usual Russian life 5 foreigners - German, Austrian, Indian, Chinese and African. Now she had the difficult task of selecting and printing photographs, and I had the difficult task of finding a hall.

We definitely need to say a special word about our zero budget. In principle, the word “zero” is enough to understand the situation. And one more thing needs to be said about Privalova’s photographs. They are black and white and very classic, despite the young age of the photographer. Although the trend is completely different. Very often, curators of young photographic talents tell their protégés that bears are cute... but they need more cruelty. After all, the cruelty that came out from under the lens of a young talent looks even more terrible than ordinary cruelty. And that's cool.

Then the photo kids take these very bears, put them in a puddle of red paint against the backdrop of some beautifully shabby wall, and put their classmate next to them, thin and with running mascara, and press the button. These photos speak of a hard time creative personality, forced to withdraw such cards. Since Privalova has a slightly different style in photography, after a couple of weeks of active search, I had to discard all the fashionable youth places - for them it is “unformatted”, but for us “unformatted” is a death sentence.

Realizing this, we began calling galleries scattered throughout Moscow. The gallery owners rejoiced at the calls and immediately quoted the cost of their “walls.” Nobody wanted to get involved in pure art. When we walked around half of Moscow, the photographs were already printed. Thirty subtle photographs about people, six photographs about each - the character is clearly visible.

By this time, the idea came to me to find a sponsor to rent the hall - but the crisis ruined my brilliant plan. And then, like in a fairy tale, many days and nights passed before we were introduced to the man who decided everything. He liked the idea - and we agreed to hold an exhibition at the Scarlet Sails yacht club. From 10 to 24 September. Two weeks. Preparations began for the opening, which was decided to be done according to all the rules. More precisely, according to all the rules, the opening of an exhibition is called a vernissage.

The yacht club, no matter how kind it may be, is still not a gallery - I had to rack my brains on how to place photographs on the walls, into which it is impossible to drive even a small nail. Therefore, it was decided to make stands. Thirty-one timber three meters long in the OBI store, cut independently after purchase - special service“cutting” does not apply to beams.

An hour and a half of sawing - the first experience. In addition, the male part of the buyers was happy - they gave a variety of advice, observed, almost applauded - but did not help. Then - twenty meters of fabric, a furniture stapler, a screwdriver, 3.5 mm screws, metal corners, a lot of new words in the vocabulary.

It took three days to assemble - in the morning instead of charging and in the evening instead of sleeping. The day before the vernissage, the stands were ready: assembled, covered with canvas and arranged in “Scarlet Sails”. In the morning before the exhibition, they hung up photographs and were terribly nervous. Thomas, being the chef at Marriott, helped with the food - by 16:00 a van arrived, from which countless tiny sandwiches were unloaded.

By 19 o'clock the invitees began to arrive. The participants of our project also invited their friends - we had a very international event. But the main thing is that it worked out. The exhibition will be open until September 24 from 11 a.m. to 8 p.m., admission is free.

The presence of exhibitions is one of the criteria by which the success of a photographer is assessed. Even if your photographs were just hanging in a friend’s garage, this is already a contribution to the treasury of personal success. And, of course, it strengthens self-confidence. Do you want more?

Stanislav Beloglazov, photographer, director of the photo school and photo agency “Magnet”

A photographer cannot help but share his creativity with the people around him. Pictures need to be posted on the Internet, shown to friends, exhibitions organized... This is necessary, first of all, for self-expression. Consider this the mark you left on this planet.

Social networks provide every opportunity for promotion. But photographs printed and hung on the wall give a different feeling from the picture and different detail. There is no way to avoid the fact that the vertical image on the monitor looks visually small. Measuring 70 by 100 centimeters, the painting blooms with new colors.

The photographer, looking at the photo, remembers the feelings at the time of shooting. Therefore, it is better to take pictures, forget and not touch the photos for a month. Only then start processing, sampling, and searching for the concept. It may turn out that those living impressions that were during the shooting will go away. The photograph will turn out to be uninteresting or, on the contrary, some new meanings will emerge.

Selection of photographs is 80 percent of the success of an exhibition. And approximately the same percentage of material remains in the basket. Any collection should have an idea. It can be formulated in the title of the exhibition, but it is better if it is understood without words. Pictures can be combined by theme, mood, light. For the sake of the idea, technically or compositionally good shots may be inferior to photographs that are weaker, but fit better into the series. The photographs should provide a holistic idea of ​​the selection.

The sequence in which the frames are arranged plays a role. There are laws that determine perception. When photographs are hung independently of each other or next to each other, it produces a completely different effect. Print the photos on a black and white printer and try to arrange them in a certain order. You can also rearrange frames on the computer screen.

At the photo selection stage, it is important to involve people with a fresh look in the process: parents, friends... This could be a person who does not take photographs, but loves cinema or goes to exhibitions. The task is not for him to evaluate where the horizon is littered, but where the composition is unsuccessful. It's interesting to hear what he understood from the photo selection.

Museums and galleries independently search for photographers and consider proposals. So show them your photos. But it's better to take three great photos than 30, of which five will be terrible. A spoiled impression will indicate that the luck was accidental, and you did not have enough talent to select good shots. The question always arises: whose money to print photos with? You can spend money on printing yourself, and the gallery will take care of the design.

Offices can host a photo exhibition shopping centers, clubs, cinemas, schools and universities. My first exhibition took place at the former Ural State University within the walls of the then Physics Faculty, from which I graduated. Stas Slavikovsky (deputy director of the Salyut cinema) and I bought ourselves an old Zenit and drove through Europe from Denmark to Bulgaria. We printed 300 photos measuring 10 by 15 centimeters and taped them to the wall in one line throughout the faculty, leaving only the doors untouched. Place photos wherever possible: even in the garages and sheds of friends, in those places where your work will definitely be looked at. Why should paintings lie in the dust? Let them live somewhere.

Today we will talk about how you can organize your first photo exhibition. We don’t undertake to talk about something distant, but let’s talk about our personal experience. Firstly, we believe that, in principle, organizing a photo exhibition is quite simple, the main thing, as with everything, is to have the desire. Thinking about our own photo exhibition, we decided to test our capabilities and tried to do everything ourselves as much as possible, from designing the exhibition itself and placing the works, to cutting sandwiches and making a presentation. Our exhibition turned out to be as planned as it was spontaneous. Having, at first, thought about it for a long time, in the end, the preparations themselves took about three weeks. Next, we will try to talk about how to organize a photo exhibition in principle, considering options for outside assistance in organizing and the option of personal financial costs for organizing the first photo exhibition.

Theme of the first photo exhibition

And that’s all true, if you constantly work in the same genre, the theme and selection of photographs will certainly be clear to you. Moreover, having decided on the genre once, you can always logically and confidently convince everyone of your choice. If you work in various directions, then to organize your first photo exhibition you answer yourself the question - what exactly do you want to show the world from your work. In our case, it was everyone’s choice, in our opinion, decent jobs. These were landscapes, street photography, macro, architectural landscape, and still life. There are 40 photos in total. What's most remarkable is that the more you select photographs from your work, the less you will like them. You can involve several of your friends in the selection of works, giving them photographs to choose from, so that everyone can mark their favorite ones. This way you at least have an idea of ​​what all the other people will go to see.

How to find money for your first photo exhibition

The simplest and surest way is to make up your mind and invest your own money. In this case, you will not depend on anyone and will not owe anyone anything.

The costs of holding the exhibition itself can be divided into several stages and preparation for it can also be done in stages. The first thing everything revolves around is the photographs themselves. You can start working on printing photographs as soon as you decide to hold your first photo exhibition. If this is a spontaneous decision, then you will have to immediately spend Nth amount money to print photos. You can save on printing photographs if you print the photographs themselves not in a photo studio, but in a printing house. Today, many printing houses offer good photo printing on paper of different densities and weights. And the price for printing in a printing house is approximately two times less than on photographic paper in a photo studio. And such works are denser in weight and do not require additional matting, frames, etc.

In our case, these were more than 40 works printed in the printing house. The weight of the work and the density of the paper were two times greater than that of an ordinary photograph. And yet, the quality of the photographs themselves had little effect on their printing outside the studio. Printing approximately 50 photographs in a printing house can cost up to one thousand hryvnia.

Space for the first photo exhibition

After you have printed all the photographs planned for the exhibition, you need to find a place to hold it.

To begin with, you can find out how many galleries and museums there are in your city. We believe that in all searches and negotiations the human factor is paramount. And if you kindly call each of the galleries back, telling them in detail what you would like to do, some of them will still agree to place your work. With an agreement, you can say that you yourself do not claim the money, and the money collected in the exhibition goes to the benefit of the gallery, with the fact that you yourself will not pay anything. Another option for organizing your exhibition space is to contact official letter to yours municipal government culture, talk about yourself and offer your works as a completed exhibition. So, one of the options may be to hold a city day in your city, and your first photo exhibition may well become one of the city’s festive events.

Another option for finding space, without personally calling all museums and galleries, is the “acquaintance” option. Most likely, you have a friend of a friend who will be able to help in this matter.

In our case, it was the last of the listed options. And the organization of space for our exhibition happened thanks to an acquaintance.

Design of works and space for the first photo exhibition

While searching for the optimal design of the work, we became acquainted with a whole range of possible designs. Naturally, the design of work is associated with material opportunities.

The most expensive type of artwork is printing on canvas. Many printing houses today offer interior canvas printing services. Prices for such printing start at 200 UAH. (15 USD) per unit. Such works can hardly be called photographic classics, because in terms of their quality they are close to painting and resemble an installation. This option for designing your work will be appropriate, firstly, if finances allow you to do this, and, secondly, if your works are quite conceptual and you see that they can only be placed on canvas.

The most common option for designing works for an exhibition is photographs framed. For an exhibition, it seems to us, the minimum photo size should be A3. Even if you print photographs in a printing house, the price of one such photograph will be approximately 20 UAH (1.5 USD). The price of a frame for such a photo is approximately 80 UAH (6 USD). So the registration of one full-fledged work will cost 100 UAH (7.5 USD). The total amount of costs can be determined from the number of works submitted for the exhibition.

Another option is printing on a new material called foam board. In general, this material is used in construction industry, but already a number of printing houses and photo studios have picked up the idea of ​​interior photo printing on foam board. The name of the material speaks for itself. This is pressed cardboard, the thickness of which varies up to one centimeter. Using this material, you don’t have to spend money on frames, because the print itself can be ordered from a mat and the work will look finished. The price of printing per unit, depending on the size, starts from one hundred hryvnia (7.5 USD).

In our case, we used typographic printing. The weight and density of the works allowed us to place them without frames using decorative tape.

Opening of the first photo exhibition. Buffet

You have been preparing for this important event in your life for a long time. Naturally, your relatives and friends will come to share your personal joy. And it is quite natural that you will need to treat them with something at the grand opening. The buffet, in itself, is an integral part of any presentation, and even more so the opening of a photo exhibition. Based on your capabilities, you need to roughly estimate the number of guests and the possible content of the buffet table itself. The standard set of drinks is: champagne or dry white wine, juice and mineral water. Snacks include canapés, small sandwiches, and sweets. You can limit yourself to small fruits (grapes) and sweets. If you don't have a large quantity glass goblets you can either buy them or rent them. When organizing an exhibition in a gallery or museum, you can check with the administrators, most likely they either know where you can rent dishes, or they will have such dishes in stock.

Conclusion

In general, nothing is impossible in life and organizing the first photo exhibition is no exception. Having become very excited about the idea of ​​holding your first personal photo exhibition, you will notice how exactly “those” necessary people suddenly come into your life, exactly “those” necessary events will occur. Also, don’t forget to prepare a beautiful notebook so that your guests can write something nice to you after viewing your work. These sweet wishes and a little praise will help you continue to feel your own need for creativity. We would really like for you to succeed, and we will be happy to write about you and your first personal photo exhibition. Good luck.

In the wardrobe of the Center for Photography. There are almost no empty seats left for the Lumiere brothers. Eduard Litvinsky watches the guests, standing on the step at the entrance to the halls. It seems that the opening of the exhibition of the Czech photographer Jiri Tondla was a success: one city, two slices of time - everyday life Leningrad in the 1970s and St. Petersburg in the early 2000s. “A real exhibition is not a set of framed photographs, but an idea, a story, a concept,” says the owner of the center. “We even print a notebook for feedback for each project and keep it.”

Litvinsky is an experienced entrepreneur, president of the Russian Project group of companies, which sells equipment for food trade And restaurant business: from scales and vegetable cutters to refrigerators, convection ovens, cash registers and bar counters. He does not disclose the turnover of the Russian Project (according to SPARK, the revenue of only one of the group’s companies, RP-Retail, exceeds 1 billion rubles). The revenue of the Photography Center, which opened in March 2010, is 40 million rubles. A total of 30 million rubles were spent on its creation. For Edward, this is not a diversification of business, but also not the whim of a wealthy person who does not mind spending money on his hobby. Together with his wife Natalya, he organized the work of the center so that it would develop itself - photography exhibitions can generate profit.

How did it happen that Litvinsky moved from retail shelves to exhibitions? “Russian Project”, founded in 1990, successfully survived the first Russian crisis (in 1998 the group’s turnover was 2.8 billion rubles, and its branches appeared in a dozen Russian cities). "It's hard to name retail network, which we haven’t worked with,” says Litvinsky. - Appeared restaurant market— got involved in restaurants. Accumulated competencies in technological design, equipment maintenance, and this has taken our business to a new level. In general, things were going well."

One day in the summer of 2001, Edward and Natalya had lunch at a country restaurant with a friend, art director of the Dacha gallery Mark Patlis. We were talking about photography. Litvinsky's father was a professional photographer, and Eduard loved photography since childhood. Word by word, an idea arose: why not open a photo gallery? There have never been such places in Moscow where works printed and designed according to all the rules are put up for sale.

A suitable room was found in the Central House of Artists. Up to 40 photographs could fit on the walls, but no more was needed. The gallery was named in honor of the Lumiere brothers, borrowing a famous name from the founders of cinema (few people knew the names of the inventors of photography). Accordingly, the bet was placed on old photograph. The first buyers were offered “vintages” from the collection of Lev Borodulin, a reporter for the Soviet newspaper Ogonyok. Eduard and Natalya managed to buy part of the archive of Emmanuel Evzerikhin, who filmed the bright events of the 1930s and the battles of the Great Patriotic War. In the fall of 2002, they organized an exhibition of his selected shots. Six months later - an exhibition of Boris Ignatovich, one of the founders of " new wave"in a pre-war photo. The exhibitions did not generate income (entrance tickets were sold by the Central House of Artists themselves), but they attracted attention to the small gallery.

While searching for old prints and negatives, its owners came across half-forgotten names over and over again. “Everyone was in the ambitions of the 1930s, and for some reason the period of the Thaw and subsequent years was not in demand,” recalls Natalya Grigorieva-Litvinskaya. “We decided to raise this layer.” As director of the gallery, she signed contracts with Vasily Egorov, a retired TASS special correspondent, a master of genre photography and political reporting, and Vladimir Lagrange, a correspondent for the magazine Soviet Union" I agreed with the heirs of Naum Granovsky, a photo chronicler of Moscow, on the exclusive right to use his fund. I bought the archive of Alexander Ustinov, who photographed cosmonauts, marshals and ministers.

“For the first four years, the gallery constantly required investment,” admits Litvinsky, without disclosing the amount of expenses. “Acquiring funds, printing photographs, creating exhibitions—there was a flurry of activity.” Processing photo archives took a little less effort and money than purchasing them. For example, the archive of Andrei Knyazev, a correspondent for “Soviet Screen” and “Moscow News” - four TV boxes filled with boxes of film - was dismantled, studied, and scanned by gallery employees for more than three years. But such funds became almost a gold reserve.

For self-sufficiency, the gallery named after. The Lumiere brothers was published in 2005, selling about 400 works at prices ranging from $300 to $1000 (the circulation of any photograph did not exceed 30 copies). The Litvinskys even ordered an accounting program based on 1C: Enterprise. “And then we plunged into an adventure,” Natalya recalls with a laugh. The couple risked repeating the famous exhibition of the 1970s, “USSR: Country and People,” which visited 50 countries around the world. Namely: to find the authors of all the photographs, their heirs or owners of the works, take something from your archive and create a new exhibition - from those photographs that, after years, can be considered unique for that era.

Preparation of the project took two years. Additional space was rented in the Central House of Artists. The exhibition opened in April 2008. Grigorieva recalls how she was surprised and delighted by the flow of people who went to “Photo 60-70”. “That’s how we realized that our exhibition activity is excessive for the gallery business,” adds Eduard Litvinsky. - This job didn’t pay economic effect, but everyone really liked it and gave a great response. This means that it needs to be allocated in a separate direction.”

There was only one center for photographic art in the capital at that time - the Moscow House of Photography by Olga Sviblova. But photo exhibitions were regularly held in the Manege, the Central House of Artists, and the Museum of Architecture. Shchusev, and their organizers did not complain about the lack of spectators. One problem: real estate in the city center suitable for a private exhibition center was expensive - about $2000 per meter per year. But one day on the eve of the New Year, 2009, while driving along the Yakimanskaya embankment, Litvinsky noticed a large banner on one of the buildings of the closed Red October factory: “For rent.” I called - only 6,000 rubles per meter per year.

“The place turned out to be magnificent, despite the devastation we found here,” says the entrepreneur. “So the decision was made literally in a day.” Renovation of 800 sq. m was done in an emergency manner. In February 2010, the next (and last) exhibition was held in the gallery at the Central House of Artists, and in March the Center for Photography named after them opened at Red October. Lumiere brothers. The premiere exhibition “Icons of the 1960s-1980s” featured more than 300 rare photographs of famous Soviet actors, directors, athletes, writers, and scientists. On weekends, up to 1,500 people a day came to Icons; the ticket office, wardrobe and ventilation could barely cope with the load.

Since then, the center has expanded, renting another two and a half hundred meters. Two or three exhibitions can be held there at the same time - original or thematic, each lasting 6-8 weeks. With the exception of imported exhibitions, up to 70% of the works are selected from the center’s collection—more than 10,000 prints are currently stored there. According to Litvinsky, income from the sale of tickets, books, posters and postcards is fully sufficient to maintain the center (rent, salaries, etc.) and so far only partially for the preparation of exhibitions. Printing and design of photographs is carried out at the expense of sponsors - manufacturers of photographic equipment and photographic materials: Canon, Fujifilm, HP.

The Litvinskys try to alternate exhibitions for connoisseurs with obviously mass projects. So, the year before last they brought an exhibition of Josef Koudelka, who filmed the Prague Spring and the Soviet invasion of Czechoslovakia in 1968. A maximum of 500 people came to see it on weekends. But “Moscow Stories” in September 2013 attracted up to 2,500 spectators on Sundays. The most universal exhibitions are being prepared for tour. Currently, 14 projects are offered for rental: for example, “Icons of the 1960-1980s”, “Vladimir Lagrange. This is how we lived” (207 photos), “Time of bells. Heroes of Russian rock" (160 photos), "The first cosmonauts. Unofficial chronicle" (60 photos).

“We love all kinds of photography. Let’s go, I’ll show you,” invites Eduard Litvinsky. And he hurries into the hall where portraits made by Tim Mantoani hang - the most successful photographers in the world with their best works in hand. Moving from one to the other, the entrepreneur notices: we are friends with that author, and with this one too. And Steve Shapiro, one of the most famous photojournalists in the United States, was so pleased with the Living America exhibition prepared by the Lumières that he granted the center exclusive rights to display it in this format. It is in the rental catalog of the center.

Rentals, however, bring the center no more than 3% of revenue. Litvinsky explains: there are few private exhibition spaces in the country, and state museums are not ready to pay (only the Russian Museum accepted a couple of projects, and even then not on commercial terms). Clients of Lumiere are the St. Petersburg art center Etazhi, Krasnoyarsk Vernissage and several other regional customers. “We are newbies, so bringing something ready-made is the best solution for us,” says Vernissage founder Natalya Sipetaya. “We rent space and are breaking even for now, but we hope to make a profit in the future.”

The Litvinskys also hope that instead of five exhibitions a year they will rent 20-30, and the number of Moscow projects will increase. In 2013, the center hosted 11 exhibitions, and 19 are planned for this year. What opinions do your colleagues have about the Lumières? Olga Sviblova answered Forbes that she does not know the work of the center very well, and due to overload she does not have time to monitor it (MDF is now also a photography school and the Multimedia Art Museum). The Lumières are great. They, of course, have financial resources, but they also invest them wisely,” notes the owner of one of the Moscow photo galleries that opened in the second half of the 2000s. “High-quality exhibition space, a good own collection, an excellent store - in general, it’s difficult to compete with them.”

The Litvinskys preserved the gallery in the Central House of Artists. “This is a different business that consistently generates profit, and there is some synergy,” explains Eduard. - However, near the center last year was profitable and the year before too. It would be easier if we rented completely finished exhibitions ourselves. But it's not that interesting."

Judging by the letters that you, dear readers of my blog, sent me, the topic is very interesting to many. Therefore, today we will talk about such a component of a photo exhibition as photo design.

Size of photographs

It's difficult to say which size is the best. It all depends on the theme of your exhibition. For example, landscape photographs look great in large formats, when the length of the photograph is one and a half to two meters. The large size allows you to step inside the photograph and immerse yourself in it. Consider all the details of both the near and distant plan. Wedding photos look optimal in standard sizes 30*45 and 40*60. For portrait photographs, genre photographs Sizes 20*30 are sufficient. In some cases, works of a smaller size may be used.

Design options

Until recently, there were two ways to present photographs at a photo exhibition. Now we can say that there are three of them.

Passepartout, frame - Classic of the genre.

What could be simpler than just a printed photograph. It’s not simpler, but it can be better if this photo is framed in the right way. For more than a hundred years of photography, little has changed. The high-quality one still looks beautiful, and of course the mat. If you want more chic, you can add a stylish frame. But the simplest and most stylish option remains a photo card and passe-partout. As a rule, works in this design are hung on a fishing line.

If you decide to frame your photograph in this way, remember that the frame needs to be larger than the photograph. If the photo is 20*30, then the frame should be 30*40. The empty field around the photo will absorb the mat.
In fact, the frame is a matter of taste. But you need to understand that a framed photograph is not so easy to mount on the wall. The fastening must be secure, otherwise the picture may fall. As a rule, this is a stud in the wall.

The cost of one job is based on the following factors:
Photo printing - 20*30 approximately 30-40 RUR
Passe-partout 30*40 with a cutout for a photo size 20*30 – about 100 rubles
Photo frame with glass, size 30*40, about 300 rubles (the cost depends on the baguette, I took a fairly simple option)
Fasteners – 10 RUR
Total registration of one work starts from 400 rubles

The advantages of classic design
-stylish
-Beautiful
-passepartout emphasizes the photo, directs your gaze to where you need it
-glass protects photos from touches
-if without frame and glass, inexpensive, light weight
-convenience of storage

Minuses
- heavy (if with frame and glass)
- fragile (glass may break)

Printing on foam board

Foam cardboard is a modern material. Very easy to use. It is a solid but very light base; on one side it has a sticky side on which you can stick (roll) a photograph. The photo is obtained without a passe-partout, but it is possible to put the pen card into a baguette, thereby turning it into something like a painting. Photos on foam board look great. Nowadays, most photo exhibitions are designed in this way, mainly because of their practicality, reliability and ease. A photo on foam cardboard weighs about one hundred grams. Very easy to install. does not get dirty, unlike a photo with a mat. You can easily hang it on the wall with double-sided tape and it will stick. Foam cardboard is great for.

The cost of one photo rolled onto foam cardboard is approximately 250 rubles (size 20*30)

pros
- light weight
- ease of transportation and installation
- keeps well.

Minuses
-Over time, the glue dries and the photo may become detached from the solid base. Treated by gluing

Print on canvas

Recently, printing photos on canvas has become very popular, so much so that they began to use it in the design of photo exhibitions. Photos printed on canvas look truly cool. The viewer looks at the photo, but sees a painting. It looks very impressive and expensive. Particularly suitable for wedding exhibitions. It requires a baguette, and a high-quality one at that, otherwise it looks unfinished. A baguette increases the cost of an already expensive pleasure.