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  1. #101
    RAP
    RAP is offline

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    Well toot toot

    http://narrationsinlight.com/

    How many here can honestly say we are not here to try to gain some exposure?
    Time & tides wait for no one, especially photographers.

  2. #102
    TheFlyingCamera's Avatar
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    Quote Originally Posted by blaze-on View Post
    Now that BS vs. ER is done, my thoughts.

    Tier pricing...me thinks this is an awful idea. I'd rather sell 10 prints at $200 rather than 4 or 5, then hope someone feels numbers 5-10, 11-14, etc. are worth 20-100% more just because there's only yeah many left. This works when you have a universally recognized name and mayhaps only three (i.e) prints remain of a particular print. Just my opinion and not based on real data.
    Just a thought on tiered pricing - I'm not saying it works or doesn't, but the psychology behind it is that you encourage the early-adopters, so to speak, to buy early, because the price is going to go up. You also encourage the early adopters to buy because you are demonstrating the investment value of their purchase. It's a marketing strategy. I find that it does work, combined with highly limited editions of your prints. I also like very limited editions because while I enjoy making images, I don't like doing drudgework of making umpty-dozen copies of a single print. I'd rather make an image, make some money from it, then move on to making a new image. In part I look at the tiered pricing as a way to extract extra value from someone who is making me print the same image for the nth time.

  3. #103
    billschwab's Avatar
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    Quote Originally Posted by TheFlyingCamera View Post
    ...tiered pricing... I find that it does work
    I agree. One common misconception is that editioning and a tiered pricing structure are dealer and photographer schemes when actually it is collector driven. Many are concerned that an infinite number of prints in circulation hurts the value of an image.

    B.

  4. #104
    naturephoto1's Avatar
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    But tiered pricing is not unusual and is usually driven by milestone copy numbers within the edition. It does allow the photographer and the gallery (if involved) to make more money per sale as fewer copies are available in the edition. It is a matter of supply and demand.

    Rich
    Richard A. Nelridge
    http://www.nelridge.com

  5. #105

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    Quote Originally Posted by billschwab View Post
    That's just it Brian. There was no "move". It has been my life. You, anyone else and most importantly I do not have the kind of time to hear me stroke my own ego telling you of all the trials and tribulations. I could sit here and drop names and accomplishments till the pigs start to fly and it isn't going to do anything but make me feel good about myself and make others think I am a self indulgent creep. Just my opinion.

    Bill
    Sometimes this forum confuses me; someone posts an experience and then they are called self indulgent and ego strokers..... I for one appreciate reading EarlyRiders post. Would it be any different if he had a story of how he failed? An old chem teacher once told me that no one should have to apologize for their successes.

  6. #106
    TheFlyingCamera's Avatar
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    Quote Originally Posted by RAP View Post
    Well toot toot

    http://narrationsinlight.com/

    How many here can honestly say we are not here to try to gain some exposure?
    Of course we are, unless we're rank newbies fishing for basic information (no slight to the rank newbies... everyone starts somewhere). This may not be the best place to get the exposure, because photographers are not great customers for other photographers' work (we'd rather trade for prints than drop a lot of money on someone else's photos), but if you can do good work, getting other photographers to recognize it and talk about it is not a bad place to start. As someone once said, "there's no such thing as bad publicity".

  7. #107
    billschwab's Avatar
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    Quote Originally Posted by rjas View Post
    An old chem teacher once told me that no one should have to apologize for their successes.
    An old Grandmother of mine once told me that if I looked into the mirror too long or often that I would eventually see the Devil. Just another way of looking at things.

    Bill

  8. #108

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    I agree with Blaze, FC and Bill about tier pricing. To me the whole idea of limiting an edition is basically a way to artificially raise prices. The pressure that I have gotten to limit prints was from galleries and hard core collectors, and collectors can be the worst proponent of it. It seems like they're only happy if it's an edition of one and they own it. If you don't limit your edition, you don't need to use tier pricing to maximize your return on your effort. For me figuring out how big an edition to make, and what to charge and how to increase is a serious headache. If you commit too small to an edition you could end up with nothing to show. Or it's possible to sell so many at the opening of a show, that the other galleries that represent you, who may also may be in a softer market, may end up carrying work that is priced beyond their market. I started with a large edition, and I keep reducing it, and reducing it. And that's not by choice.

    As for tooting one's own horn, we all do it to some extent. I don't see how Bill and I squaring off against each other toots the horn for either of us. I participate in these threads for 2 main reasons, the first is that for me it's a sort of self analysis of my own work and why I do things. It's sort of a therapy approach. If you go to a therapist they ask you questions. The purpose of the questions is to make you think about things in order to answer the question. Through that thinking, that introspection, you can come to realizations about things in your life. For me these threads, are the therapy that better enables me to understand my own work. They also have increased my typing speed tremendously.

    The other reason is that for other people, reading someone else's self analysis can also lead to a better understanding of themselves or their own work. In addition there is often really valuable information that is freely exchanged in these discussions. When I was young I used to contact well known photographers and ask to speak with them about photography. Many were gracious enough to see me. This new technology allows for a similar free flow of advice.

    Sometimes when you look in the mirror you learn who you are.
    Last edited by Early Riser; 12-28-2006 at 03:29 PM. Click to view previous post history.

  9. #109
    RAP
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    Now Bill and Brian, thanks for the interchange. I wonder how much we would have to shell out for a workshop to learn what you two have stated here.

    Is it just that easy? Put up a website, do good work, and print sales will just flow? Boy do I wish! I have recieved some positive input on my website that I hope is truly honest and sincere and my work has been published by BrownTrout Publishers, an international publisher, my own calendar yet! I had expected print sales to trickle in but not like molasses.

    As for availability of materials to print on, I think most agreee that digital prints do not have the same depth and tonality as silver gelatin. So then if digital papers were all that is available, what would we all do? Go alternative, platinum, coat our own, go digital or hang up our cameras for brushes?

    Photography is truly the only really time sensative medium there is.
    Time & tides wait for no one, especially photographers.

  10. #110
    TheFlyingCamera's Avatar
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    Quote Originally Posted by RAP View Post
    Now Bill and Brian, thanks for the interchange. I wonder how much we would have to shell out for a workshop to learn what you two have stated here.

    Is it just that easy? Put up a website, do good work, and print sales will just flow? Boy do I wish! I have recieved some positive input on my website that I hope is truly honest and sincere and my work has been published by BrownTrout Publishers, an international publisher, my own calendar yet! I had expected print sales to trickle in but not like molasses.

    As for availability of materials to print on, I think most agreee that digital prints do not have the same depth and tonality as silver gelatin. So then if digital papers were all that is available, what would we all do? Go alternative, platinum, coat our own, go digital or hang up our cameras for brushes?

    Photography is truly the only really time sensative medium there is.
    Already heading down that route - coating my own Pt/Pd, and loving every minute of it. Frankly, it also makes it easier to justify the limited edition numbers and the prices. You do have to find an audience that understands a bit more about photography, and knows more than "Ansel Adams" and "silver-gelatin" catchphrases. Then again, when you show them the work, it speaks for itself. But it isn't for everyone, since it requires either a lot more digi-work to make enlarged negs, or shooting LF, which is definitely not for everyone.

    I wanted to learn alt-processes against the possibility of the end of traditional paper and other analog media - kinda like how I wanted to learn photography originally just to use as subject matter for painting and drawing. Well, watching that first Pd print expose in the sunlight, and seeing it go POOF! in the developer was as addictive as watching the first enlargement emerge in the developer tray when I learned how to do my own darkroom work. The experimentation brought its own unexpected rewards. But at least now I know I can get from a to b without being beholden to a particular product (well, except for now my addiction to Bergger COT 320 paper... but that would be easier to replicate than something like AZO, for example).



 

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