Digital BW, The Print

A print shop can make you a custom embosser with your own seal, logo, or whatever.

Like the ones a Notary Public uses.

Jerry



Alan Zinn wrote:
> 
> At 01:54 PM 11/18/2002 EST, you wrote:
> >In a message dated 11/18/2002 8:31:43 AM Pacific Standard Time,
> >mark@... writes:
> >
> >> #1You don't get it. It's not about keeping your costs down. It's about
> >> keeping your quality up. And also about maintaining your
> >> credibility.
> >>
> >> #2 I maintain if you're serious about entering the fine art market,
> >> then you've got to bring some solid rules and practices to the
> >> table.
> >>
> >> # 3 If you're gonna live in the "Edition mentality", then the only true
> >> way to know that the edition is consistent is to print them all at
> >> once. (Whether you then trash the file is another conversation).
> >> That's what it means to be an Edition, at least to me.
> >>
> >> #4 If you're gonna print "on demand", then I'd say you're one notch
> >> up from a commercial photo lab. You've deviated completely
> >> from the spirit of the artist; you're just an order taker.
> >>
> >> #5 If you don't want to play by those rules, then fine, no problem. I'd
> >> advise at that point to have Open Editions, lower prices, but then
> >> know that you're killing your future potential in the gallery world.
> >> Just try going for representation at a gallery, and tell them that
> >> you practice Open Editions, and see if they take you on.
> >>
> >> Crafts fairs are one thing; galleries are quite another.
> >>
> >> MT
> >> #1. Hey if you sign it, it passed your quality control, and credibility
> >> test  didn't it? Certainly you wouldn't sign a piece your not proud of.
> >> Your signature is your own endorsement. Comercial work is ultimately
> >> approved(or not)by the client paying for the work. This art gallery work or
> >> personel work YOU decide what the final is eather the gallery likes your
> >> choices or not. Its personal work remember!
> >> #2  Solid practices, yes! Rules? hardly. Rules and creative photography
> >> seem like a contradiction. You bring your images and print work to the
> >> table, and your in or your out. A certain level of quality is expected as a
> >> balance with the image. Countless images of the highest quality and
> >> integrity have been rejected.
> >#3. Very rarely done. Except those that edition under 15 prints.
> >#4 Please! That's a little extreme don't you think. Print on demand does not
> >mean there is no consistency. Its the same image after all! printed hopefully
> >by the same person. Just have Nash Editions print your work, you get more
> >money for the prints and have weaker blacks and more sales! And can have
> >print on demand.
> >#5 Sure galleries like numbered prints! Its all for increasing the prices
> >nothing more. There is an implication to the buyer that these are somewhat
> >limited and that is why you have to pay more. I'll bet if they liked your
> >work enough, the open editions would fly just fine.
> >Just tell them there are over 800 AA "moonrise" prints out there, Or that
> >your in poor health and expected to die very soon :)
> >Sure there is a big difference in craft fair vs. galleries, craft fair
> >editions run in the hundreds and galleries in the 10's.
> >I know of a couple APIAD (living)blue chip photographers that have many
> >editions of the same image. Silver, Platinum, Iris, Lightjet. There each
> >different and should be editioned separately. When a customer buys a print
> >from the gallery wall, they are expecting to get the one hanging, or one
> >pretty close to the same if not identical.
> >So if they buy a silver print, that's what they expect to get, not an IRIS or
> >platinum print.
> >Just because you get a gallery show booked doesn't mean your work is
> >collectable, Collectors are actually a very small part of the contemporary
> >gallery scene,
> >let your estate worry about collectors, work is really only collectable after
> >there is no more available, as in death of an artist. People that tend to
> >number there prints to 10 or less are going strictly for the collector market
> >and trying to get lucky. Unless your Michael Kenna ;0) but he has a 20year
> >exhibit history.
> >#6 Give them a nice print at a fair price with some assurance that there
> >neighbor won't have the same image.
> >Mark, are there any living(or dead) photographers that follow your standards
> >for editioning an credibility? names?
> >I really do no what your saying, only the highest standards are allowed at
> >the gallery level and the market insures that.
> >Before you hang it ask why would someone buy or not buy this print. Not buy
> >because the blacks are weak? maybe! but doubtful.
> >Time for my meds!
> >Steve M.
> >
> 
> Thank you Steve!!!  Welcome to Planet Earth.
> 
> A bit of a change of subject.  I saw an excellent photo exhibit recently
> where the artist had a printer's chop (embossed symbol). It went near the
> bottom left, in the rebate, slightly overlapping the image. I thought it
> gave a kind of exclusive - extra classy finish. Can anyone elaborate on the
> professional use practice of that? Fine art (intaglio, etc.) prints have
> them to indicate who did the printing.
> 
> AZ
> 
> Build a Lookaround!
> The Lookaround Book.
> http://www.panoramacamera.us
> 
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