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Wednesday
Mar082017

21st Editions, Robert Farber, and Goethe's Theory of Colours

 

ROBERT FARBER | JOHANN WOLFGANG VON GOETHE

COLOUR
12 numbered copies
10 bound and 8 loose pigment-ink prints
1 original aluminum dye-sublimation print presentation in buffalo and silk

All printed on Juniper Baryta Rag

Robert Farberspent much of the ‘80s and ‘90s photographing the fashion industry’s leading super models in Kodachrome and Agfachrome. But a storage mishap exposed some of that film to the elements. Colors bled and chemicals went awry. Farber took his time observing the process as it unfolded. Then, he selected the moment when the flaws in front of him bore their own aesthetic perfection and the metamorphosis was complete. So began Farber’s new series, Deteriorations—an extraordinary addition to an already formidable legacy.

Premiere release of Robert Farber's Deteriorations. Collier Brown pairs Farber with one of the greatest treatises on color ever written: Johann Wolfgang von Goethe’s Farbenlehre (1810), translated by Charles Eastlake as Theory of Colours (1840).

The skill with which 21st Editions combines word, image, and binding has no parallel in the world of fine art publication. Over the years, publisher Steven Albahari has collaborated with some one-hundred artisans, writers and poets. And with each project, the standard of bookmaking has been elevated. This new collaboration with Robert Farber pushes those limits even further. The “1998 - 2016” collection now complete, 21st Editions proudly introduces COLOUR, one of four new titles in a second major collection. 

This elegant, silk and leather bound edition contains eighteen bold color pigment prints on Juniper Baryta Rag as well as a dye-sublimation print on aluminum. The master-binding and box design reflect the book’s major themes and the dye-sublimation print bound in black buffalo skin presents itself as its own table or mantle display. COLOUR will be published in an edition of eighteen (18), of which only ten (10) will be for sale.

Upcoming Shows
SPE Orlando - March 10-11, 2017
AIPAD New York - March 29-April 2, 2017 

Friday
Mar032017

Selling Fine Art Prints

by Les Picker

Les Picker Fine Art Photography

As fine art printing has become easier, more affordable and of higher quality, professionals and amateurs alike are trying their hand at showing their images on paper. At some point, even an amateur might be asked if he or she would be willing to sell a print. That has happened with a number of my amateur photography clients, whose next question to me is how they can sell even more prints.  

As a Moab Master photographer, I was curious about the state of the art of selling fine art prints, so I decided to query some of my fellow Masters about their experiences in today's highly competitive marketplace. 

A Problem of Acceptance

Jim Graham is a well-respected generalist photographer from Delaware. Graham has wide ranging experience as a newspaper, editorial, wedding and commercial photographer, although his personal work tends to be more in the fine art realm.

"I find the biggest challenge we face is getting people to understand the value of photography and that it truly is 'Fine Art,'" says Graham. 

My own studio also finds that challenge to be a real barrier at times. Unlike with fine art paintings, people often associate photographic prints with cheap chain store prints. They have little awareness of the amount of time, work and extraordinary expense that has gone into capturing, post-processing and printing a fine art photographic print on museum-quality paper, using archival inks in high-end printers. Most of our clients report that seeing (and touching) a fine art print is a paradigm-changing experience. 

Exposure 

For anyone selling fine art pints, professional or amateur, a key factor is getting enough exposure. Putting likely buyers in front of fine art prints is the name of the game. 

Scott Barrow, another Moab Master, is a location photographer shooting a wide variety of assignments. He owns a gallery in The Berkshires of Western Massachusetts, an area that draws as many as 500,000 visitors in the summer. Approximately 80% of his gallery sales occur then. "We have a short season for gallery sales," Barrow reports. "From November through May we have very little foot traffic."

The challenge of exposure is compounded for those who do not have the luxury of operating their own gallery. One solution is to have one's work represented by an existing gallery. "Selling prints is a continual struggle," says Graham. "Having your work in galleries is a huge help. It tends to legitimize the work as a piece of fine art."  

Not Just the Money

Despite the fact that all professional fine art photographers have to put food on the table, I have never met one whose sole - or even prime - motivation was financial. We all are hard-wired to creatively express ourselves through our chosen medium, no different than a fine art painter or sculptor. 

Graham puts it succinctly: "Selling fine art prints gives me the opportunity to show people another side of my passion for photography. Purchasing prints gives them an opportunity to support that work. The proceeds from the sales of that go back into funding trips and the costs involved in the creation of new work."  

"I love the process of making prints," Barrow adds. "To be able to print an image and hold it in your hands is very satisfying. It’s real. When that photograph is printed on Moab’s Entrada Rag Bright 300 it’s both a visual and a tactile experience. I also like seeing which images people respond to in the gallery. I enjoy sharing my stories with them."

The Internet Myth

If there is one myth that wrecks more photographic dreams than any other it is that all you need is a website to sell fine art prints. That is patently false. None of my colleagues, some of the best print-makers in the world, sell much of their work online. Graham, for example, sells only a small percentage online, but those prints aren’t signed or numbered. 

Scott Barrow sells roughly 10% of his work through his website. However, even in those cases it represents follow-up from people who have first visited his gallery.  

This makes perfect sense when a fine art print might cost anywhere from a few hundred dollars to several thousand. Most informed consumers want to experience the look and feel of a fine art print before committing to purchase.  

Most professional fine art print-makers use the Internet and social media for increasing visibility which, in turn, drives people to see our art in person. 

Tips From the Pros

Given the state of the  market for selling prints, what do professional photographer print-makers recommend to  increase sales of fine art prints? 

Do It Yourself. There is no substitute for taking the time and effort to create your own prints. After all, you created the image. Why not advance your vision all the way through to completion? 

Use Quality Materials. "Printing on fine paper and offering the best presentation in terms of mat and frame truly helps sales," advises Jim Graham. "I find that using Moab papers by Legion, in combination with Rising mat board, has help my sales and consistency of presentation a great deal." I agree. 

Meet and Greet. Surprising to many people, most art sales are the result of face-to-face contacts. "People like to meet the artist," says Scott Barrow. "I spend my summers in the gallery and my experience is that 95% of the prints that sell do so when I am in the space.  No one sells me like I do." 

Invest. Selling high-end fine art prints requires an investment in time, energy and money. Don't expect to be successful right out of the box, but also know that experience, good equipment and fine art papers (like Moab's) will eventually get you there. 

______________

Les Picker is a Moab Master photographer. His studio and gallery is located in historic Havre de Grace, Maryland. Les leads photography workshops throughout the world. 

Wednesday
Feb222017

DIY Fine Art Printing at Vistek

Learn to love your printer and understand ICC profiles for the best prints possible.

Many photographers look back with nostalgia to the process of printing film negatives in the wet darkroom. In this interesting and compelling lecture and demo, Evan Parker will reveal how to bring that love of process and technique into today’s digital darkroom. He will share how printing with archival inks on a variety of substrates can be creative extensions of your photographic work that can open doors to new ways of realizing projects.

Evan will discuss creative aspects of printing workflow, and how these play into creating terrific prints. He will also simplify the printing process with things you can do in your studio to help colour accuracy, accurate image reproduction, and more.

Afterwards, we’ll tackle your printing questions, and leave you confident in the printing process.

Febrary 27th, 2017

Morning session:

  • 10:00 – 11:00 a.m. – Customer Presentation and Q & A
  • 11:00 a.m. – 12:30 p.m. – PRINTS (Evan will print your image* on any type of MOAB paper you want if you’re up for waiting!)

Afternoon Session:

  • 2:00 – 3:00 p.m. – Customer Presentation and Q & A
  • 3:00 – 4:30 p.m. – PRINTS (Evan will print your image* on any type of MOAB paper you want if you’re up for waiting!)

* Images can be on thumb drives or memory cards and must be ‘print ready’ (no raw files please) and the largest file possible.

More information here.

Monday
Feb132017

Photographing Flowers for Transparency Workshop with Harold Davis at SVA


 

Tuesday, February 21, 2017
4:00 – 5:50pm
School of Visual Arts, Room 101C, 133/141 West 21st Street, New York, NY

 More Information on this workshop.

Acclaimed by Popular Photography Magazine as "bordering on the spiritual," Harold Davis's floral photo-composites are uniquely beautiful. In this presentation, master photographer Harold Davis displays examples of his work. He'll explain the thinking and the processes behind both the photographic captures and his post-production workflow. Harold will show how he uses LAB color to enhance some creative aspects of his floral imagery, and show how his floral imagery can be enhanced using high-end printmaking techniques on substrates such as washi. The presentation will be followed by a Q&A. 

Wednesday
Jan252017

Free WPPI Attendee Guest Passes

Click here for your free pass!

Use promo code: EXIV204037