Digital BW, The Print

Mark Tucker wrote:

> * How exactly would you describe these prints, ie. "silver gelatin",
> "cibachrome", etc.? Would you just call them "inkjet"? I've always
> been a bit amused at how "serious" the technical descriptions
> are at some shows. Would you say "inkjet print on coated
> acid-free watercolor paper"? Or would you get more honest and
> just say "Inkjet Dye Print on Watercolor Paper.

The way the museums are handling this, is by calling them: 'inkjet prints'.  But then, if you like you can add
more info.  Akin to: 'selenium toned silver gelatin print'.  Whether it be pigment ink, or the type of paper
you use, if you think it's relevant.

> * I have asked the framer to use UV glass. Is there anything else
> in the framing process to add longevity?

Do not used 'buffered' mat boards, the buffering is very bad for inkjet inks (of all types).  These days, most
framed shows use plexi instead of glass (weight and breakage).

> * Do most people decide on an edition number in advance? Do
> you think that's a big issue, since I'm not a "real artist"?

It is a marketing decision, not an 'artistic' one.  Commonly, fine art photographers (contemporary) issue
editions of 5 to 15.   That said, I don't edition my prints (silver), that I sell via my dealer.

> * Any advice on how to ship about thirty 30'x30" framed prints?
> Do people build those plywood boxes and send them in those?
> It's a long drive from Nashville to SF, so driving them there is
> probably not an option

Usually, large plywood boxes, with plenty of packing....Although new cardboard could work for one round-trip.
And remember the weight and fragility issue about plexi vs. glass. If you use glass you might consider putting
'Xs' of tape across the glass to prevent damage to the prints if they break.

Harvey Ferdschneider
partner, SKID Photography, NYC




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