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> Do digital, colour or black and white, prints sell better than darkroom prints. |
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#11
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There is a local artist hereabouts who has two personas, doing different styles, and she seems to get away with it (like Ruth Rendell and her alter ego I guess). Perhaps that's something I could look at doing as well. Or is it really not that different to you Steven, with your wedding/commercial work alongside this new more personal venture? I'll have to think about that. Ironically in view of what you said above about Graham's work, I've also been considering panoramic colour images on canvas ... |
#12
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While there are still customers for my darkroom kit I don't have to sell prints, but it's something I want to do alongside "the day job" and it needs to pay its way. So the colour stuff will continue, and maybe I'll try and move the wet stuff up-market a bit. |
#13
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Interesting comparisons on sales; I've always felt it important that the subject should some have form of commercial appeal. I've no intention of doing pretty colour postcards just to make some sales. B&W photographers are a funny lot...photographing rusty wheels and garage doors because the textures are nice and spending hours on prints, binning slightly imperfect prints... are we mentally ill?? Ask our other halves
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#14
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Richard Bob Carlos Clarke used a pseudonym for his more "cheesy" lads mag work that earned him the dosh. Steven
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#15
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My most successful period of print sales was when I was selling silver gelatine prints of local views through a local art gallery.
I was also with two big London galleries back in the '80's, Contrast Gallery in Dover Street and Seen Gallery in Mayfair. I didn't sell a single print at Contrast Gallery, but did get invited to exhibit in a nice group show (which included John Davies) in Israel. I sold a couple of images at the Seen Gallery. However the owner stopped selling photographs after a year and reverted back to selling fine art paintings. He said it was a more reliable and profitable market These days I consider my work as predominantly non-commercial and too expensive for the casual buyer. Although I do enjoy exhibiting work mainly in group shows. I'm involved in 4 group exhibitions this year. One of my friends who I exhibit with on occasions produces superb colour inkjets, which sell quite well because his pricing is more affordable; on average £70 for a mounted A3 print. I can't and wont compete with those sort of prices.
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"To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which will never be seen again" Ralph Waldo Emerson. Timespresent Arenaphotographers |
#16
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That pretty much answers my concern then - thanks Steven. So long as I don't put them both in the same gallery and have to turn up twice at the private view ...
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#17
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Steven
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http://thealchemistsworkshop.co.uk/ |
#18
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Ha! Well, that might work but I dunno whether it'd cover your petrol cost to get here!
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#19
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Constable exhibited his first painting in 1802, but unlike Turner, success eluded him. He sold only 20 paintings in his lifetime, and was never recognized in his homeland while he was alive.
The fickle world of art, like antiques, is something elusive for most artists. I think one has two options: Do the works one likes and is happy with - result in most cases: Poor! Do what sells and fund what one likes – result: bliss. I love the comment ‘Alter ego’ it conjures up a vision of Dr Jekyll and Mr Hyde! David. |
#20
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Maybe I'm lucky but we get a lot of visitors from the continent, and I find that french visitors in particular buy the more "arty' type of images and locals and English visitors tend to buy the landscapes, but this might be a purely local trend, I would say that fine art photography is at the moment bigger on the continent at the moment, and I am placed in an ideal place to get some of both worlds Richard
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