DID YOU GET A GOOD PHOTO?

Sorting through some images on one of my computers today, I came across this photo. In the rush to get my work finished off for our exhibition at the Ararat Regional Art Gallery, there was no time to get the work professionally photographed. Unless you have an area that is set up for photography, getting good images at home can be quite difficult. With the need for good natural light indoors, the best place to photograph small tapestries is on my kitchen bench, under the large sky light. Small works are relatively easy, I stand on a chair beside the bench. Larger ones less so, as I am quite a short person, so standing on the bench is a must. This tapestry is stitched onto the mat board, signed and ready to go to the framers. Usually it is not too difficult but, this board had warped and the tapestry would not lay flat on the bench, hence the use of the tins on the corners. A problem with this method is hoping that a cloud will not pass over head as the operation is being performed. Shown in this photo by the shading on the left hand side. This photo was not the best one taken at the time.
It is easy to photograph tapestries while they are still on the loom and under tension, Sadly these photos end up cropped and most galleries and exhibitions require photos that show the edges of the work. 
So it begs the question. Why leave it until the last minute to get the work framed or mounted?
I think that answer is that, I never know exactly where I am going to exhibit them. Some exhibitions call for work unmounted. Others require a backing, some require special tape sewn on the back so that rods can be passed through them. As you can see, each exhibition requires something different. If I have a tapestry that I am really pleased with and have it framed. Am I prepared to un pick the hours of stitching that it takes to sew them to the mount, to enter the tapestry in an exhibition that requires work that is not mounted or framed?
Well the jury is still out on that question.