The problem with a 500 print order, for me, is printing 500 "dupes" in an enlarger. That is a lot of tedious work and time and spotting and ...
i see what you are saying
but i don't find it unfair at all
to deny the public or my clients ...
i don't really need to hire a lab assistant or any of that
i have done runs of 500 prints before, it really isn't that hard
when you are processing 16 prints at a time ...
instead i would rather make single images and have my clients
pay a fair price knowing there aren't 19 or 49 or 99 or 199 or 499 of the same image
floating around ...
its not a permanent smile or grin, its being imprisoned by one's work.
congrats.great success!the best text i've ever seen on this subject is from brook jensen. google'what size edition', and you'll find his article. limit myself to 12 first and then open up to 50 is demand warrants that move.i have not sold all my editions but have sold some.
The reason why a client would like to have a limited edition is that, if you happen to become famous in the future or if your image appears on TV and all the US want to have a copy in their living room, their "bet" on the quality of your work is paid back.
An art buyer can be seen as somebody thinking he has the taste to understand art before the greater market will. Art collectors see themselves as skilful investors. It was always like that. When the Colonna and the Pamphilj of this world built their "galleries" of contemporary masterpieces, the masterpieces were not necessarily priced as masterpieces. Only time gave them justice as fine collectors.
When a - say - Cardinal Scipione Borghese bought a statue or a painting, he was doing it not just for the pleasure of owning, but for the pleasure of "betting" on his own good taste and on his "nose" for art, and the pleasure of building a collection as a reflection of your own "nose" in art is probably not less than the pleasure of owning the art pieces.
Your art collection doesn't speak about your purse only. It also speaks about your taste and your intelligence.
If somebody buys a picture don't rule out that he does it in the same spirit of those great collectors of the past. He buys a work which he hopes one day to become a recognised work by a recognised artist. In buying your work, he's "betting on you" as an artist. There's also a number game here: you buy 100 works, and if 1 or 2 actually work out to be perceived as important works, that might compensate the expense on all the others.
So, to answer the original question, some people say that the right number is around 100 for a BIG image.
100 guarantees the buyer that, if you happen to become famous, his investment in your work will pay back. 100 doesn't really limit your likely income, but does give an incentive to a buyer: remember he might be buying not just for his personal use, but with an hope of a future larger reward.
Leaving an edition "unlimited" doesn't give any incentive in "betting on your work" to such kind of collector. You might sell to the merely aesthetically driven buyer, but not to the "old style" collector.
I say BIG image because if you happen to become famous and widely acknowledged you will honour your 100 limited edition for the large prints but you will print, in larger or unlimited editions, some smaller sizes of the same image. That is perfectly acceptable practice as far as I understand and will actually possibly increase the value of the big size photographs printed as limited edition.
printing in the darkroom makes every print unique. it's getting hard to say what an original photograph is;the negative?.
Gosh. How do you keep from going insane personally printing the same thing over and over again?
The whole limited edition concept is pretty silly. If someone is working from and etched lithographic
plate or stone, it just wears out. So-called photolithographs, by comparisons, are sometimes made
in "limited" editions of tens of thousands, just in case there are that many suckers out there, because they are generally worth far less than the frame they're put in. Once in awhile I've accepted a high premium from somone wanting me to sell them a unique print, never printed again.
But a lot of this sounds like gallery marketing tricks as usual. Some photographers have resorted to
pricing the first ten or so prints at one level, then raising the price on successive batches. Still,
are that many really going to sell, or is this just jockeying the perceived value of the print? My
custom is just to make two or three of any given image, with one reserved for my own collection.
Move on to the next image. But I'm really of the same mind as Stieglitz - there only one "best" print
How about price? I am doing contact prints from medium format and 5x7 large format. Limiting the editions to 10. Have a start price at 150 euro sounds resonable for the print size?