Hello,
This is my second discussion post and I can't tell you how grateful I am to find your site. My first question / discussion generated so many fantastic responses that will certainly help me.
I have been selling my photography for the past two years and am now interested in selling signed Limited Edition prints of my photographs. I have researched the subject to exhaustion online and asked all my associates and fellow peers for tips but I am still confused as to how to go about the process. I would appreciate your input in the subject and with the following specific questions:
(1) I have read and heard from other artists that no huge investment is necessary with this new era of printing. So, let's assume I have a photo called "Apples" and I will be offering a Signed Limited Edition (SLE) of 100 prints in a 16"x24" sheet. Am I correct to assume that I could print the SLE's as orders come AS long as I keep an accurate record of the prints and print numbers sold (1 to 100)? For example, the 24th buyer would get a recently ordered print that is signed and hand numbered by me "24 of 100" on the back of the print and on a "certificate of authenticity". Of course, I also assume I would have to always use the same image file and the same excellent printing service (Mpix, for instance) to maintain equal prints from 1 to 100, no matter what the time span inbetween each print. Is this okay?
(2) Here's where things get confusing for me. I've seen artists do the following ... They offer one image (Let's call it "Apples") in various "Limited edition" print sizes. For example, LE 10"x15" of 100, LE 16"x24" of 75, LE 20"x30" of 50, etc. In other words, they seem to be saying once the LE "Apples" is sold out in the specific size, then THAT size will never be sold again BUT the image is obviously available in other sizes? Also, I have seen some artists even throw in the same image on a GICLEE and call it a whole NEW edition ... Is this a bit unusual or is it common? Will it annoy patrons whom buy the "LE" prints only to discover the same image on a different sized LE print in the future (or a canvas)?
(3) A continuation of the previous question, let's say I sell out of all 100 of my SLE "Apples" image in a 16"x24" Kodak Luster Print. Can I at some point decide to sell the same image but printed on a Fine Rag paper (or some other distinct process and/or size) and call it a "new" Limited Edition? Once again, I have seen this done before but wonder if it is unwarranted.
(4) How many Artists proofs should I keep / make? I realize artists proofs are mainly a product of actual print maker litho runs (where the whole edition is printed then the "plate" is destroyed). So, in the case of prints, this may not be an issue. But, how many "Artists Proofs" should I say are being maintained per edition run?
Thank you.
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Things have changed in the introduction of giclee prints. I don't know to many folks that would go the way of the litho prints anymore. What a waste of money, unsold prints being stored under the bed or in the basement of runs of 500 and only 50 sold. Plus the old 4 color process lithograph prints are not very color stable.
Certain pieces of art like a duck stamp print etc., which people collect and will sell out - are worthy of a limited edition status and can be sold at higher prices. People collect these prints as an investment - so when the editions were sold out, the price would go higher (basic supply and demand). I do know alot of people who bought prints thinking they were going to make money on them, are still sitting on them because there is no demand for them - even when the artist died.
In my opinion, different sizes of an image can be different considered limited edition sets. I wouldn't think that changing paper would be an appropiate differentiator of editions. however when printing on canvas, I think those are another level (cost) of limited editions, and usually are considered as a another group.
If you go the way of limited editions, you are responsible of maintaining the bookwork of the editions.
The artist's proof were generally around 50. That was usually an agreement between the printer and the artists. I'm not sure if giclee edition have artist proofs. In some circumstances there are conservation editions, which are usually given away to organizations for raising money - like Ducks Unlimited.
Personally I don't do editions - if asked - they all are open edition.
I agree with larry, that you have to let the customer know what your doing in way of edition offering and then they can make the decision in regards to the cost of the item.
WOW .... thank you Larry. I just finished reading Jensen's fantastic and quite convincing article. I should have gone with my first instinct (which matches Jensen's opinion). I have done sculptures that I have cast in bronze (true limited editions because the cast is finite and can be broken after a few editions). But, i could see the inherent problems with "Limiting" photographs because there is no true degradation in quality from negatives or digital negatives. As Jensen so succinctly writes, only the artist or seller adds arbitrary limitations to photographs for marketing purposes ... There is no logical reasoning for limiting a print run for photographs because the original (sans accidental damage to the file or negative) never degrades.
I will just offer my photos with all the perks of a Limited Edition but without the Limited edition number. I will include a COA, because buyers seem to like that, which includes my signature, date of print, date of signing and detailed information about the photo and print.
... Now, perhaps I will offer "SPECIAL EDITIONS" that include the same image but in different mediums (like canvas_ ... Ha, I guess anything that sells and customers are happy buying.
There's nothing confusing about it as long as you state your methods on your COA. That's the easy answer. But the ethical answer is that your customers probably expect all sizes to be included in the edition. COA is certificate of authenticity. You shouldn't provide something that you say is limited without documentation.
Limited editions in the art world are the galleries way of pushing photography prices (and perceived value) up. Limited editions in the art show world are from other mediums complaining that photography is too easy so if photographers are forced to number (limit) what they sell, they can't sell hand over foot at the shows when no one else can. Most rules that art shows impose that go beyond real world definitions are created from jealousy and complaints from other mediums.
Personally I don't believe in limiting. Here's an article about limited editions, reprinted with permission, on my resource web site by Brooks Jensen, editor of Lenswork Magazine: http://artshowphoto.com/pages/whatsizetheedition.htm
Replies
Certain pieces of art like a duck stamp print etc., which people collect and will sell out - are worthy of a limited edition status and can be sold at higher prices. People collect these prints as an investment - so when the editions were sold out, the price would go higher (basic supply and demand). I do know alot of people who bought prints thinking they were going to make money on them, are still sitting on them because there is no demand for them - even when the artist died.
In my opinion, different sizes of an image can be different considered limited edition sets. I wouldn't think that changing paper would be an appropiate differentiator of editions. however when printing on canvas, I think those are another level (cost) of limited editions, and usually are considered as a another group.
If you go the way of limited editions, you are responsible of maintaining the bookwork of the editions.
The artist's proof were generally around 50. That was usually an agreement between the printer and the artists. I'm not sure if giclee edition have artist proofs. In some circumstances there are conservation editions, which are usually given away to organizations for raising money - like Ducks Unlimited.
Personally I don't do editions - if asked - they all are open edition.
I agree with larry, that you have to let the customer know what your doing in way of edition offering and then they can make the decision in regards to the cost of the item.
http://scotthambergart.com
I will just offer my photos with all the perks of a Limited Edition but without the Limited edition number. I will include a COA, because buyers seem to like that, which includes my signature, date of print, date of signing and detailed information about the photo and print.
... Now, perhaps I will offer "SPECIAL EDITIONS" that include the same image but in different mediums (like canvas_ ... Ha, I guess anything that sells and customers are happy buying.
Thanks again.
Limited editions in the art world are the galleries way of pushing photography prices (and perceived value) up. Limited editions in the art show world are from other mediums complaining that photography is too easy so if photographers are forced to number (limit) what they sell, they can't sell hand over foot at the shows when no one else can. Most rules that art shows impose that go beyond real world definitions are created from jealousy and complaints from other mediums.
Personally I don't believe in limiting. Here's an article about limited editions, reprinted with permission, on my resource web site by Brooks Jensen, editor of Lenswork Magazine:
http://artshowphoto.com/pages/whatsizetheedition.htm
Larry Berman
Digital Jury Services
http://BermanGraphics.com
Art Show Tips Blog
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