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#11
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My point is that many beginner's trying toget into this market think that limited edition prints is the best way, after all, a lot more money in it, so they spend a day or two making, say 30 prints, then the negative is destroyed, then they find that the prints are snapped up, and then they think that I shouldn't have destroyed that negative,It was only in my first year of selling prints that I destroyed negatives, and in my time in that the Photographer would have to sign a letter stating that this No 1 print (put your number) cannot be printed again as the negative is destroyed,I soon worked out that making editions,not limited, was a much better earner as if it was a big seller then I could go on and print further editions of that negative, and Imade a pretty good living out of doing this,but I was lucky to be able to do this,
Richard
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jerseyinblackandwhite.blogspot.com |
#12
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Protocol allows you to make one or two more - for museums and/or galleries to keep/exhibit but these cannot be in commercial circulation. It is also not acceptable to then make a significant additional number to give to your friends and acquaintances. At the end of the specified print run the negative does not need to be destroyed but does need to be permanently retired (such as to a museum along side one of the copies of the print). A friend who make a series of limited edition prints found the process very constraining - some limited editions did not sell out and others were so successful he could have sold the edition several times over. He regretted making limited edition prints and has not do so since. YMMV Martin |
#13
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Thank you all for really interesting insights.
The thing is, I was never in any camera club or anything else of the sort (nor had any education in visual arts) so I had no idea about this at all. Surely, limiting the number of prints definitely (in my opinion) plays the rarity card with the price...which I don't find particulary 'in taste'. After all, in the world of paintings there are certified copies to buy, sketches etc. too. On the other hand, I can understand artist's own desire to limit the number of prints just for his own satisfaction in creating just one image (or, well, 10, 30...) -thinking about it, direct positive paper or reversal processed film in LF would tick that box better. As for myself, I like the most if the print can be held directly in hands, not displayed on the wall...that way one can look as close as he want, change the lighting easily etc. and that disqualifies anything that is rare, as nobody would want a rare print to not be protected behind the glass, eh. Print exchange is rather nice for this I'd say that a well printed book with good reproductions on nice paper is a good approximation. Also, with book there is no internal 'censorship' for the artist - with prints that go on the wall, one will print those which people would like to buy to hang on their wall... Jakub |
#14
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Hi Jakub
I always prefered smaller prints, for much the reason you give, If a print is on the wall then I like the idea that someone has to come close and perhaps get Drawn in to the photograph, and so I have never printed on paper larger then 91/2 by 12, and then always full frame, so the actual print is smaller, either square or the full frame 35mm or 645, even when I cropped I still cropped, and still do, within the full frame size, for quite a while I made a living from this type of photography, and apart from my first year I never made limited edition prints for the reasons I have given, and as part of what I did was to provide photographs to decorate restaurant and office walls, and sometimes the edition negatives were perfect for the wall, and I could print them with a different crop Ect and sell them all over again.but I never printed bigger than 9 1/2 and 12, and mounted the prints with a 4in border all round, mount size depending upon negative, size, and for me it worked very well, I never had photographs turned away because of size, so as I hope you can tell I really, for most of my photographic life, have never approved of limited edition's, Photography is different from painting's Rct in that a painting is a one off and engraving's have to be single edition's and you pay the price, Richard
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jerseyinblackandwhite.blogspot.com |
#15
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I'd start by asking why I was considering a limited edition.
Is it an artistic choice? Driven by what? Is it a commercial decision, based on the belief that if there are fewer copies each will be worth more? Mostly I think it will be the latter, but that presupposes the images will be in demand by collectors. Possibly true for photographers with a well established reputation but not for the majority of photographers looking to sell a few original prints. Limiting the number of prints out there limits access to your work- unknown photographers aren't selling to major galleries. Even if you do build a reputation then other people may benefit more from the rising value of your limited edition photographs. If they resell for more money on the 'art/collectors' market none of that money finds its way back to the photographer. Same as paintings- how much did Van Gogh earn from his body of work? I suppose there may be some niche markets where collectors really will pay a premium for limited edition photographs, but those collectors and galleries need to know you exist before you can tap into that. Before worrying about producing limited editions I'd work on both my craft as a printer, and getting some publications and exhibitions. Too late in the day for me, but the best of luck to you Jakub |
#16
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I'm not looking into making any editions at all, my interest about the topic is purely academic
Personally, I don't see any value in art as a 'colectible' item. Galleries, museums and books are places for art (for me), when put on a wall in someone's house, it at least partly becomes a decoration in a sense (or even worse if it's put somewhere for safekeeping and noone can see it). Jakub |
#17
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When someone buys one of my photographs I hope they are doing so because they like it and want to put it on their wall. Not stuff it in a folder never to be seen again because it may be worth something in the future I do not see the point.
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Mitch http://photomi7ch.blogspot.com/ If you eliminate the impossible whatever remains no matter how improbable must be the truth. |
#18
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Definitely agree Mitch, photos are to be seen
Personaly I just prefer sitting down and going through a folder/archive or a book than seeing a set of photographs on my walls every day - makes them somehow un-special for me Jakub |
#19
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I do, however, have paintings by my late wife on the walls but there is more involved in their display than just that I like them and they do not become invisible in the same way that photographic prints seem to. Mike |
#20
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For me, a photograph isn't finished unless it's hanging on a wall! I find it inspiring seeing my own work or that of others hanging on walls. And living with prints helps me learn by assessing what works and doesn't work over a longer period of time. Mind you, a book of 20x16" prints would be rather hefty!
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MartyNL “Reaching a creative state of mind thru positive action is considered preferable to waiting for inspiration.” - Minor White, 1950 |
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