Digital BW, The Print

While you're at it, why not complicate it more? Think about the idea of 
first editions, and second editions, etc. Why? If something in your 
workflow changes, you have to rework the image for the new workflow. For 
example, suppose your old printer dies and you move to a new printer. 
With new inks. So you rework the image to take advantage of what the new 
inks will do. Now the prints from the old printer and the prints from 
the new printer don't match. You can't sell them as part of the same 
edition, because they clearly aren't. Thus, you create a new edition.

And if you didn't finish printing the old edition, what have you got? 
Your 3/25 doesn't mean the same thing if you only printed 3 of them. 
What you really have is 3/3. How will you communicate that to your buyers?

And people wonder why I only number my prints...
--
Bruce Watson


Arthur Fink wrote:

> As I'm beginning to sell more of my images as "art prints" (hate that
> term, but it does communicate), I need to decide how to handle
> editions.  I'd like to do this with sensibility, integrity, and
> business savvy -- trusting that these will not be in conflict.
>
> My understanding is that I'd establish separate numbering for each
> print size, and not necessarily for all sizes.  Thus, I might, for 
> example say:
>       17 x 22            Edition of 25
>       11 x 17            Edition of 50
>       8 1/2 x 11      Open (no edition)
>
> But I've a number of questions about this:
>
> * On what basis do I set the number (is it called "edition
> size")?  In theory, an edition of 25 should give more value than an
> edition of 100.  But what are the limits?  I'd expect that an edition
> of 5 would just limit me, and bring little reward.  How to place myself?
>
> * Are there norms about which print sizes are sold in editions, and
> which are not?
>
> * Can/should I also mark some artist's "proofs"?  This name makes
> more sense for monoprints or etchings.
>
> * What about rejects?  I've sold some flawed prints or given them
> away (with concern that these not get into circulation and diminish
> my name or reputation).
>
> * Some of my best images have already been sold -- one to a
> museum.  Can I start editions on these images, even though a few
> unnumbered prints are in circulation?
>
> * What do I do about prints that will hang in my home or
> studio?  Should the edition include ALL of these?
>
> * Right now I sign the mats, and not the images.  And I like the mat
> the cover all the border around the print.  Should I also sign and
> number the print, so that somebody who removes the mat from its frame
> or sleeve, and opens it, will find an indelible marking on the
> physical print itself?
>
> * One of my image is being printed and displayed in three ways:  As a
> horizontal, as a vertical, and as a vertical stretched to be about
> 20% wider than taken.  (Amazing how those fish gain and lose
> weight!  Should these be in separate editions?  (I don't think so.)
>
> * What about images that are printed and displayed either as a 2:3
> format, or square?
>
> * What about some images that are printed differently enough to feel
> like distinct images -- but that are recognizably different
> renderings of the same shot?
>
> * Some of my images are printed both as black and white and as
> color.  Can I treat these as completely different?
>
> * In a few cases I've printed from two almost (but not quite)
> identical frames.  Should I call these the same?
>
> - - -
>
> In all of the above, I'm not wanting to overly complicate my life, or
> confuse potential buyers.  But I do want to understand clearly what
> my representation "3/25" really means, and know that I'm faithfully
> following through with that.
>
> By the way, my assumption is that I'll have a record keeping system
> for this outside of my photo database (now Portfolio, but will
> probably be iViewMediaPro) -- which saddens me.  I'd like to have one
> database, in which I caption a raw image, track the various
> conversions, further track the different files made for printing,
> track the editions produced, and, finally, keep contact information
> for who has each print.  I am, after all, my own curator.
>
> Thanks for any help.
>
> Arthur Fink