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Friday, 05 June 2015


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This is a bit frustrating, as Kate is my favourite photographer amongst the one I've discovered at TOP... But I'm moving house at the end of the month, and thus have no funds, and no idea of where new prints would go. I sincerely hope you'll have another print sale with her in the future!

[I've suggested to Kate that we have a second sale of her work next year. So maybe. --Mike]

Actually I think folks get blind-sided into paying a lot for mounting, framing, and glass, if they've not been in a custom framing shop recently, or because they haven't discovered their local Michael's.

At that point, their bargain-priced print suddenly ends up costing them a lot more than they thought it was going to. But having entered with print/poster in hand, they are too embarrassed to back out, and end up spending far more than they thought possible to frame that $5 poster they purchased.

Those folks are never going to pay what we might want to think is the 'going rate' for fine art prints, especially after having had their wallet walloped at the framing counter. They are not what we in the trade would call 'collectors'.

Folks that are about to cross over into collector-land usually start out by buying art that reminds them of a time, place, or invokes some emotional response. Artists get access to those buyers by fulfilling what the buyers are looking for and supplying it to them as a finished product (signed, mounted and matted at the least, could be framed, always comes with a guarantee against fading, and sometimes a 'try it or trade' offer, in case the print doesn't match their couch/decor).

Artists that have created name recognition have access to folks that are willing to pay for the name. That's when the artist can start commanding higher prices for his work, and will have access to art collectors that follow his work.

You won't find those folks standing in line at the frame shop with a $5 poster in hand, or buying their frames at Michael's.

I think I'm an example of a different but related problem: I do own a couple of original prints from well known photographers but they are not really the people who need the support. They are widely collected and certainly successful - they're long past the recognition hump. But I still find myself reluctant to purchase prints from those who would benefit the most from my doing so, relative unknowns or up-and-coming artists. I'll have to think on this...

Yep. I waited until the last minute. Your print sale finally aligned with available discretionary funds--thanks eBay--and a print I desired. Just took the entire week for me to pull the trigger.

I have long shared the sentiment that art should cost more than the frame/matte etc. When I have charged for my work, I always kept that threshold in mind in pricing or at least in mind in case pricing came up with some of my clients.

It took me less than 10 seconds to decide which to buy, and thankfully my wife agreed (unprompted) on the same photo in the same timescale. As I scrolled through the images I thought "lovely but not for my wall" a couple of times, then BAMMM! ...had an immediate connection with Road in the Rain.

Mike wrote, "I think I should end this parenthetical now.)"

I was waiting. And waiting. I knew you would.

Just curious but can you share the number of prints that were ordered. Or is it confidential.

Mike, the cost of framing is interesting, especially for pro 'togs trying to make some profit! Might be worth a post? G.

Before the first small exhibition I made of my photographs 10 years ago a photographer I knew told me: "Buy your own matting equipment and learn to use it, it will pay for itself with this show."

Better advice will be hard to find, I still have the mat cutter and other implements and it was paid over many many times.

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