Archived posting to the Leica Users Group, 2012/12/22
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]Sorry about misspellings and excessive reliance on spell checker. Bill, the idiot. -----Original Message----- From: Bill Pearce Sent: Saturday, December 22, 2012 1:04 PM To: Leica Users Group Subject: Re: [Leica] How do limited edition digital prints work? This is, to me, the fallacy of the whole limited edition thing in photographs. A particularly hungry photographer can produce an unlimited number of artists proofs at any time, and no one except George numbers them. Then, most commercial galleries consider each size an edition, therefore a "limited" Edition of nay number sells out? Great, then print it bigger and charge more. Bloom on rose fading? Print smaller, sell cheaper and collect more. I have quite numbering my prints for these reasons. It's all a scam by galleries/dealers whose motives may not be pure. -----Original Message----- From: George Lottermoser Sent: Saturday, December 22, 2012 12:50 PM To: Leica Users Group Subject: Re: [Leica] How do limited edition digital prints work? On Dec 22, 2012, at 11:57 AM, Jim Nichols wrote: > Thanks, George, for pointing out the details that I never considered. > Subject: Re: [Leica] How do limited edition digital prints work? > >> 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. In my actual "art print" world I've mostly printed, and numbered, and signed "artists proofs" with roman numerals. (with a very few limited editions up to 25) I've found that keeping a record of how many "artists proofs" I've made of any particular image is limited enough in my very limited exposure. We're not talking about thousands here, or even hundreds, I rarely get to AP VII, VIII or IX. I figure that by sticking with AP numbers (Artists Proof) I can always do an "edition" in the future, if an image were so in demand, or gallery, museum or publisher requested such. If one commits to an edition - before market demand actually requires such a decision It may become regretted commitment. Regards, George Lottermoser george at imagist.com http://www.imagist.com http://www.imagist.com/blog http://www.linkedin.com/in/imagist _______________________________________________ Leica Users Group. See http://leica-users.org/mailman/listinfo/lug for more information _______________________________________________ Leica Users Group. See http://leica-users.org/mailman/listinfo/lug for more information