Digital BW, The Print

"I'd say that one is hard to imagine. Copy negs always lose some of
the original, even in large format copying."

A) I am exceptionally good at copy negs and there are plenty who are
better. 

B) "Even in large format..." indicates that someone lacks the basic
skills to do the job because any skilled person would assume from the
beginning that large format would be used, along with a proper flat
field lens...there's no "even" to it. 

C) The buyer won't compare to an original, he'll simply buy what he sees.
   
D) If it's important to certify, a normally intelligent buyer or
seller will hire a recognized appraiser (eg http://www.sothebys.com)
to do it with credibility.  

E) Any local ambulance-chasing attorney can do a better job certifying
originality than can a bozo with a website. 

 


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, CorrPro96@... wrote:
>
> 
> 
> 
> It's certainly 
> asy to imagine a fine copy neg made from one of their prints, 
> rinted upon some lovely silver paper, perhaps aged, sold 
> s "orignial". Digital is no more magical than optical. 
> 
> I'd say that one is hard to imagine. Copy negs always lose some of
the original, even in large format copying.
> 
> Richard Massie
> 
> 
> -----Original Message-----
> From: djon43 <djon43@...>
> To: DigitalBlackandWhiteThePrint@yahoogroups.com
> Sent: Fri, 3 Aug 2007 12:30 pm
> Subject: Re: [Digital BW] Inkjet Fine Art Certification.
> 
> 
> 
> fwiw, This kind of concern is commonly handled by an accompanying 
> ote, describing the image, identifying factors (size/type of image 
> n size/type of paper etc), date, signature etc., specifying the 
> uyer (to facilitate tracking).  
> It might be of no great concern to people whose clients buy prints 
> or visual reasons 
> I don't think Adams or Weston ever had this concern. It's certainly 
> asy to imagine a fine copy neg made from one of their prints, 
> rinted upon some lovely silver paper, perhaps aged, sold 
> s "orignial". Digital is no more magical than optical. 
> 
> -- In DigitalBlackandWhiteThePrint@yahoogroups.com, "amadou diallo" 
> amadiallo@> wrote:
> 
>  I only glanced briefly at the site, but the wisdom of paying for 
> uch
>  a service aside, it really highlihts the issue of personal
>  responsibility and integrity of the artist. Today, digital makes 
> t so
>  much easier to produce multiples and reproductions in virtually
>  unlimited quantities of identical quality. If you choose to edition
>  your work in limited quantities (like I do) you obviously need to
>  assure a buyer that you will honor the terms under which you are
>  pricing and selling the print. Making your own print
>  documentation/certification is straightforward and easy to do, IF 
> ou
>  keep organized and detailed records of your output. Keeping these
>  detailed records can also help avoid the insurace claim nightmares
>  mentioned on that site.
>  At the end of the day, the buyer is depending on your  (or your
>  representative's) reputation for integrity. As a buyer, if I didn't
>  trust a particular artist, it wouldn't matter to me what
>  "certification" they offered. By contrast, I've found that when
>  selling my work directly, a little personal contact with the buyer
>  goes a long way. The web is a fantastic tool for showing your work,
>  but when it comes to purchases of art, I make a point to speak, via
>  phone or in person with the buyer. In these conversations I give as
>  much information about the work as possible, offer general 
> uidance on
>  handling and display, and explain that there will be signed
>  documentation with each print. I've never yet had a buyer ask about
>  how I will ensure the integrity of the edition, and I take that as 
> 
>  sign that they are confident in my integrity.
>  -- 
>  amadou diallo
>  Author, Mastering Digital Black and White
>  www.masteringdigitalbwbook.com
> 
> 
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