On looking, making,
and living with photographs.
Stories from the landscape, thoughts on the process,
and a closer look at the work.
FROM THE LOWCOUNTRYFIELD NOTESFEATURED STORY
Before the day gathers pace, the coast asks us to slow down. On arriving early, watching the water, and finding a frame that breathes.
Read story
THE PROCESS
From the decision to stop and look to the final print: the small choices that give a photograph its presence.
Read story
COLLECTING
Begin with the image that makes you pause. A considered approach to scale, placement, and living with photographs.
Read storyCOLLECTING
JOURNAL · ARTWORK PROCUREMENT Selecting artwork for healthcare and senior-living interiors is a purchasing and coordination task as well as a visual one. A useful brief connects the chosen image to its exact location, the people who use the space and the facility’s requirements. This checklist is for designers, art consultants and procurement teams planning […]
Read storyCOLLECTING
PROJECT STUDY · SAVANNAH CONVENTION CENTER Four permanent photographic wall installations. One completed public commission. Vitor Lindo’s work at the Savannah Convention Center brings landscape photography into architecture as an experience of scale, light and place. Live-oak imagery within the Savannah Convention Center. A view of one completed commission comprising four works. A photograph in […]
Read storyCOLLECTING
A hotel collection can connect arrival, shared spaces, and guest rooms through a clear photographic idea. Plan the sequence alongside lighting, operations, installation, and care.
Read storyCOLLECTING
Build a workplace collection around its most important locations. A clear brief, thoughtful image sequence, and practical artwork schedule help turn a selection into a considered installation.
Read storyCOLLECTING
Paper choices begin with the actual print specification. Learn what fiber base, texture, sheen, white tone, and framing can reveal about the photographic object you are considering.
Read storyCOLLECTING
Acrylic and metal describe families of print constructions. Compare the image, surface, reflections, edge profile, and care requirements before choosing a finish for a particular room.
Read storyCOLLECTING
Interior designers can source art through galleries, artists and their representatives, art advisors, curated online marketplaces, fairs and auctions. The right route depends on the project: the type of work, the level of guidance required, the schedule and the details that must be resolved before installation.
Read storyCOLLECTING
Edition numbers tell part of a photograph’s story. Understand the scope of the edition, additional proofs, dates, documentation, and the distinction between owning a print and reproducing its image.
Read storyCOLLECTING
Choose art for tall walls by identifying where people will view it, then relating the artwork to the architecture and furniture around that view. A high ceiling can support a substantial photograph, but the entire wall does not need to be filled. The aim is a convincing relationship between the work, the room and the people in it.
Read storyCOLLECTING
Panoramic print sizes are easiest to compare by aspect ratio: the relationship between an image's width and height. A 3:1 photograph is three times as wide as it is high. Choose a suitable width for the room, calculate the corresponding height, then add any border and frame to find the finished footprint.
Read storyCOLLECTING
Choose art for your home by starting with the atmosphere you want, the photographs you genuinely respond to and the way the room is used. Then test scale, color relationships and placement. A work can belong beautifully in a home without repeating every color already in it.
Read storyCOLLECTING
Choose wall art by its finished outside dimensions, its relationship to nearby furniture and the distance from which you will see it. Measure those conditions first, then compare two or three sizes on the wall. A photograph should feel convincing in the room before you commit to a dimension.
Read story