Digital BW, The Print

On May 14, 2006, at 9:00 AM, 
DigitalBlackandWhiteThePrint@yahoogroups.com wrote:

> Message 14
>     From: "Arthur Fink" af@...
>     Date: Sun May 14, 2006 6:01am(PDT)
> Subject: Print "editions"
If you have decided the edition runs in advance all the certificate of 
authenticity should relate the information on the sizes and runs and 
artists proofs.
The designation A/P is usually used on those. If six artists proofs 
were printed then the first would be A/P 1/6The limited edition will 
say L/E or nothing before the 1/25 etc.
All artwork sold as a limited edition should have a certificate of 
authenticity to document the size, run etc.
Some states do not allow you to sell (legally) limited editions without 
the accompanying Cert of Authenticity. Also something to keep in mind 
is that the guidelines were developed around printmaking, not a 
photographer printing his own work on his own machine and fiddling 
around a lot. Remember this is based on experience not book learning so 
take it for what it is worth.

>
> As I'm beginning to sell more of my images as "art prints" (hate that
> term, but it does communicate),
"art prints" to me = more money , go with it. If you are producing work 
that people will pay money for then you are a professional artist. I 
salute your achievement.
>  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)

In printmaking you pick one image and realizing the commercial 
viability of the image you produce many so that you can spend the 
latter part of your life on a beach somewhere being served ice cold gin 
and tonics with a double squeeze of lime. So the guidelines ( in some 
cases laws) are geared towards that. I would say one treatment, one 
size= one edition. I am not an expert just relating my learning curve 
in the last 15 years.
>
> 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?

Just keep in mind that the most expensive photography ever sold was an 
"edition" of 2.
This was the outtake or something like that from a Marlboro man ad that 
sold for over a million bucks this winter.
>
> * Are there norms about which print sizes are sold in editions, and
> which are not?
>
No.
> * Can/should I also mark some artist's "proofs"?  This name makes
> more sense for monoprints or etchings.

Artists proofs are generally prints set aside for the artist for 
whatever reason. As long as the number is revealed on the certificate 
of authenticity it doesn't matter how many you print.
>
> * 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).

Don't do this. If it is too flawed to put your whole name and 
reputation on it, the print needs to be in the recycle bin or trash.
>
> * 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?
At this point you should not produce in the same size any limited 
edition print that you have already sold.
>
> * What do I do about prints that will hang in my home or
> studio?  Should the edition include ALL of these?
That would be your artists proofs.
>
> * 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?
I would like to see the print number and signature even if covered by 
the mat. It establishes authenticity.
>
> * 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.)

Yes, IMHO.
>
> * 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?
>
Not sure on this one.
> * Some of my images are printed both as black and white and as
> color.  Can I treat these as completely different?
Yes
>
> * In a few cases I've printed from two almost (but not quite)
> identical frames.  Should I call these the same?
No
>
> - - -
>
> 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
>