Just souped some negs made in the 1114 Century with the 22" Petzval. Grand old glass! Going to print them later this PM on MCFB with my favorite Ansco 135 soup. I have about 40 other pieces of glass I could have used but honestly, it's the pictures that matter. Glass is secondary. It really doesnt matter. PyroCat negs printed on Forte FB paper and toned in Selenium. That's what matters.
So - I was thinking about this thread this afternoon - driving around in the car. One of the things that did occur to me - perhaps one of the most short-sighted, pretentious and ridiculous things... was 'destroying one's negatives' after a run of prints. I personally think that's just plain stupid - and stems from the fear that one's work won't be taken seriously as art. Seems to me photography is all about reproduction. (there's a joke in there in another context maybe!)
do i sound bitter?
Just souped some negs made in the 1114 Century with the 22" Petzval. Grand old glass! Going to print them later this PM on MCFB with my favorite Ansco 135 soup. I have about 40 other pieces of glass I could have used but honestly, it's the pictures that matter. Glass is secondary. It really doesnt matter. PyroCat negs printed on Forte FB paper and toned in Selenium. That's what matters.
it was my understanding that the reason for destroying the negative after a run of prints was so that your customers could be sure the "limited edition" you were selling them is truly limited - if the negative is destroyed, they know you can't make another run of prints and will be willing to pay more for your prints.
it was my understanding that the reason for destroying the negative after a run of prints was so that your customers could be sure the "limited edition" you were selling them is truly limited - if the negative is destroyed, they know you can't make another run of prints and will be willing to pay more for your prints.
Brooks Jensen wrote a great article called "What Size is the Edition" about the pretention and sillyness of limiting editions. It convinced me that LE was bunk. And he's right.
Too bad nobody told the average buyer.
If I limit my editions, I sell more, at a higher price, then when I run open editions. Basically I can sell all of a limited edition, or none to very few of an open edition.
Exactly my point! It's pretentious as hell!! Photography trying to be like printmaking - and doing work with the intention of a 'limited' edition. Bah! Humbug!!! The whole POINT of photography is that it's a reproducible medium! If you put enough into the printing - no two prints would be exactly alike anyhow. Shouldn't that be enough? It's not as though many photographers do more than a few editions anyway - and any posthumous editions are usually characterized as such.
Well - you could say that about just about anything that's pretentious, right?
I've also got another reason to limit your editions: as a personal reason, I get really tired of re-printing the same image over and over and over again. I don't want to keep remaking the same image when I'm working on and thinking about new ideas.
I wouldn't destroy the negative. I just stop printing it. I always keep my negatives, in case I would have a need or a desire to revisit the image in some way later. But making 25 or 50 or 250 copies of the same image? SNOOZE!
For me at least, talking about editions open or closed would be snobbish. I rarely get the time to print and it's always a treat. Typically I'll print 3 of a negative once I've found a good combination in the hope that perhaps I can give 2 away and keep one for my "portfolio" which is a 16X20 tray up in the darkroom full of pictures nobody wants. It seems I don't have the gene to spend whatever time it would take to set up a pretty web site and hype my work for sale. It is rare indeed for a negative to get a second visit after I've printed the first 2 or 3. I'm too prolific with the new work and there's a mountain of it I may never have time to print at all. Life is short. How's that for limited edition.........
I do find that at a certain point it does become tiring printing some images again and again, especially tough prints.
Collectors want small editions, period. They want the exclusivity of being one of the few owners. If diamonds were as common as coal do you think people would pay thousands of dollars for a carat? Scarcity, or the perception of scarcity increases the perceived value of anything. And perceived value becomes the real value.
My work is in a limited edition and I have to say that it is a real pain keeping track of the editions. The market wants it, so if I want to play in that market I have to play by it's rules.
I do find that at a certain point it does become tiring printing some images again and again, especially tough prints.
I was thinking the same thing, having just been to the Photography Show 2007.Actually the diamonds/LE photo link is a good one, for diamonds are not a particularly rare commodity. The cartels that control the mining and distribution keeps their release in check.. inflating the price through an artificially created rarity.
Oh nonsense. Do you think a recording engineer refers to headphones as "cans,: a floor monitor as a "wedge" or the cable from a mixing console to a microphone distributuon block as a "snake" in order to make visitors to the studio feel like outsiders? All professions have slang and while the unititiated may not be familiar with it, neither the origins nor the purpose generally have anything to do with the unititiated.
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