Archived posting to the Leica Users Group, 2012/12/22

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Subject: [Leica] How do limited edition digital prints work?
From: imagist3 at mac.com (George Lottermoser)
Date: Sat, 22 Dec 2012 11:37:54 -0600
References: <4703DA04-FFC8-4A73-9D5A-CC3BD766E691@mac.com>

On Dec 21, 2012, at 10:19 PM, Adam Bridge wrote:

> Not that I'm in any way likely to create a limited edition set of digital 
> prints but can someone explain the rules?
> 
> If you make a series of images from an original digital frame, are you 
> from then on forbidden from revisiting that frame again? It would seem to 
> me that you would be, but I just wanted to be sure.
> 
> Thanks for any answers. If this is too off-topic I apologize.

I'd think it helpful to consider the art print tradition
from which the Limited Edition concept originated.

Long before photographic prints
prints were made from:
engraved metal plates
etched metal plates
lithographic stones
and
carved wood blocks.

The print processes required the prints were the same size as the plates, 
stones and blocks.
As the plates, stones and blocks were developed by the artist/printmaker
they pulled "artists proofs" to see how the work was progressing.
The artists proofs were generally numbered with roman numerals.
Once the artist/printmaker had considered the plate, stone or block complete
An edition would be pulled.
The edition was finite and numbered as 1/100 through 100/100
(or whatever other number the edition may be)
The numbering offered a number of advantages.
One could monitor how the plates, stones or blocks were affected by the 
print process.
(edges were softened in copper, other soft metal and certain woods, wood 
grain would fill in, etc.)
One could also monitor the hand inking process of the plates, stones and 
blocks.

When photography (and serigraphy, and photo-lithography, etc.) came along
things changed - it became much easier to produce "unlimited editions."
The "art market" required "limited editions" - not the handmade process 
itself.
Edition sizes "made by the artist/photographer" were limited only by the 
artists time;G
not by the negative degrading with every "pull."

This has all been debated for a long time - should a negative be destroyed?
to preserve the "value of the limited edition?"

Also consider:
prints (limited or unlimited) made by and signed by artist.
prints (limited or unlimited) made by others and signed by artist
prints (limited or unlimited) made by others and unsigned

It's all a bit of a conceit - though with some validity.
If we all simply pulled one print which we thought to be the best possible 
rendition of any particular file and then destroyed the original digital 
file - obviously that would make that print extremely "rare." If on the 
other hand we made 1,000 of them - well - not so rare.

Who cares?
Galleries, museums, collectors and photographers who serve or seek to serve 
those "markets."
How does one insure that no additional prints will ever flood "the market" 
during one's lifetime? or after one's death? Written contracts, promises 
and/or most assuredly - file (negative) destruction.

Regards,
George Lottermoser 
george at imagist.com
http://www.imagist.com
http://www.imagist.com/blog
http://www.linkedin.com/in/imagist







Replies: Reply from jhnichols at lighttube.net (Jim Nichols) ([Leica] How do limited edition digital prints work?)
In reply to: Message from abridge at mac.com (Adam Bridge) ([Leica] How do limited edition digital prints work?)