I was just whiling away time writing DVDS of the commercial work I shot over the weekend :D
Hi lilmsmaggie -
I agree with what RalphLambrecht said. I started teaching BTZS (Beyond the Zone System) and Introduction to the View Camera workshops with Phil Davis back in 1995. The students were all serious photographers who wanted to improve their craft. They were from all different professions and photography was their passion. I now do mostly private workshops and most photographers come to my workshops because they are not happy with the quality negatives. My first private workshop happened when I got a call asking when the next BTZS workshop was and it was a few months away. The photographers was not happy with the quality of her negatives and she said I can't wait that long and she came out a few weeks later. Basically as Oliver Gagliani said about his workshops is that he could share his knowledge gained by trial and error over many years with his students to speed up their learning.
I find that learning BTZS can be a bit hard but some students do well when shown step 1, step 2 and the rest of the steps and then they understand what you are trying to teach. I saw that early on working with Phil Davis and the reward was when you saw the student start to understand what you were teaching - that was the reward for the teacher. I'm with Oliver Gagliani - it is very gratifying to be able to share your knowledge with your students.
Why all these pages of back and forth when the answer is clear: if you want tips on how to sell prints then why not simply look for a workshop including that topic. No? If it doesn't exist then try to arrange it.
The whole point of a workshop is that it has a program and reliable experts contributing to that program. If that program includes a discussion of how to move prints, well then sure you can hope to recoup losses through what you learn.
But... most workshops of which I am aware are about process, not marketing. Marketing would be really hard to cover: the marketability of people's output, their price points, their overhead expenses and their proximity to art investors are all so wildly different. There is also that central issue that no one wants to talk about: their actual profit. Everyone is happy to talk about the $500 print that sold last year, but what about the multitude of other prints that cost way more than $500 to make and sit on the shelf. How many people at a workshop would actually disclose all their gains and losses and do the math? Not many. It's an uncomfortable topic for most people. Good luck finding guidance on that!
For a workshop discussing how to sell and market your work, look for one run by Mary Virginia Swanson.
Well this, if not interesting, then at least entertaining string seems sure to be IXnay'd by the ostensible APUG moderators before too long, what with all the crapshooting and all.
Before it does, and for what it's worth, I think Mr. Grant, by degrees, was attempting to get Mr. Crawford to consider the possibility that some of his "advice" to the OP could easily have been misconstrued as not much more than a series of negative, condescending remarks about whatever anyone who ISN'T a "Professional Fine Art Photographer" had to say on the idea of getting some recognition and possibly some remuneration for one's hard work.
Since Mr. Crawford, who is apparently unable to tolerate any sort of criticism himself (since he has, after all, already attained the status of PFFA and is therefore beyond reproach - kinda like tenure) and since Mr. Grant was unable to get his point, or more aptly his admonition, across to Mr. Crawford to TONE IT DOWN A LITTLE and subsequently calling him to the carpet (for which I can hardly blame him) to put his money where is mouth is, this string, or at least this component of it, has degenerated into not much more than a schoolyard name calling contest; not to mention inciting my own propensity to engage in run-on sentences and soap-box opining about the entire state of things as they have become in this formerly somewhat civil and engaging discussion.
I'm going to my darkroom now to catch up on some work....
I miss Jorge and Blansky
The tone of this thread wasn't great from the start, and has clearly gotten worse. I think the OP has plenty of responses, so in the interest of keeping things cordial, I think it's time to move on. A round of drinks on me. :p