View Full Version : How many actually have photos from another photographer?
This one comes as a result of another question on a New Year's Challenge. How many of those on the list, or photographers in general, have an actual PRINT done by another photographer? We purchase or are given books. We see prints in them as well as at galleries, a rt shows and in other venues. How many have actually purchased a print from a photographer whose work they adm ire? Or even done a print trade with another photographer? We see B&W magazine, dedicated to the collectors of B&W prints. We see great ima ges all the time. Yet few photographers I know have purchased or traded for any of the work they admire. Not even getting a print for a special occasion. An AA lithograph, maybe. A calendar, every now & then. But a print you like, simply be cause you like it, almost never, with few exceptions. Even getting one print a year would build a collection of images we like, slowl y but surely. Yet most I know or am familiar with don't have even one original p rint from another photographer.
Dan, I have a number of prints by Christopher Burkett. Most are now worth a lot more than I actually paid for them (I bought them because I liked them, although its very nice to see the print value go up) To the best of my knowledge Dan, very few photographers actually buy other photographer's work.
I own and enjoy a modest number of prints that I have purchased over the years, and several more that were acquired via trades with people with whom I have taken classes or workshops. I especially like the traded prints, because they serve as a reminder of an individual whose work and acquaintance I enjoyed.
I hope your personal experience proves to be the exception. How sad it would be if we, as a group, don't value the work of our colleagues.
I am 45 now, but when I was graduating from high school I bought two Brett Westons for my "graduation present" they were $700 at the time and are now "worth" much more, but how on earth to sell them even if I wanted to. Also I have somewhat tired of them and they are big. Now that I am an adult and doing my own photographic work, I want to put some of my own work up on the limited wall space that I have. My wife is not a photo fan and thus putting up lots of collected prints won't fly. Also prints of good work continue to be relatively expensive. Or better put, the prices are not trivial enough to just collect them without some thought unless your budget is unlimited.
If one collects them and puts them in boxes then you really are not going to be looking at them much. I have so much stuff in my life right now that buying expensive big prints with the attendant storage and/or display problems just is not that appealing. I would rather concentrate on producing my own images and "sharing" those with others. Don't get me wrong, I definitely have the desire to own many of the images that I see, but as I get older am realizing that I don't have to buy or own everything that I "want". Just some ramblings on my current thoughts about owning things in general and other photgrapher's work specifically
Raymond A. Bleesz
Dan--a very good question you posed--one I have thought of as well. It would behoove the profession and art buyers if there were more buyers out there. The general public is rather naive re: photography as a fine art & even more naive re: pricing of photography--but that's a different subject matter at hand.
Off hand & I do not have all my prints before me, I have: a Lartigue, Ernest Knee, W.V.Dyke, Neipce(sp), several Hal Gould's (Denver) & a very recent Susan Goldstein (Denver), several Gregg Albrecht's, several images from the Underwood series, several Myron Woods and several more images which do not come to the top of my head at this time--perhaps when I get home, I'll add to this list. I also have had an image or two stolen from me; one of which I would like to get back very much and that was a image of the Great Salt Air Amusement Park in SLC--a image redone by the SLC photographer John Telford under the original photographer's family trust. My image was stolen, or misplaced to be politically correct, during the late 1980's in the town of Georgetown, Colorado.
Typically, I have purchased the majority of my images in Colorado via galleries or from individuals and my buying limit runs up to $400-500 max. although I have been tempted to push that however, I usually need supplies or another piece of hardware and have to make a choice.
As a documentary or straight photographer & Histographer, I have identified with photographers who would fit into that domain.
I'll add to this post later today or in the am--respectfully, Raymond A. Bleesz
i have only a few photographs from contemporary photographers, and those are typically ones i have traded for - there arent really many contemporary works that i am interested in owning. OTOH, i have a large number of albumen photographs from the 19th century from photographers whom i greatly admire.
Scott, If you really don't want the Weston prints that you have, then you have a number of choices to sell them.
1. Get in touch with Sotherby's and ask when their next auction of fine art photography is, and that you have what you have and would like to sell them.
2. Get in touch with the Weston Gallery in Carmel and tell them the same as above.
3. Place them on Ebay for the entire world to see. Set a reserve and sit back. No sale no lose.
4. Give them to me and I'll look after them for you for a few more years until you have forgotton all about them :o)
Hi Dan; I have made it a practice to trade images with other photographers who's work I enjoy (assuming they are alive and approachable). I probably have 15-20 print in my small collection, but that is after five years of collecting, if you can call it that. I only ask photographer's who's work grabs me, and have never had someone decline the offer of a trade - it is a great way to collect work, and to spread the appreciation of your own.
I think that, for many photographers, economic constraints preclude the acquisition of prints by means other than print-swapping amongst contemporaries.
In essence we are either receptive or productive; we either allocate spare funds to the purchase of other photographer's works or splurge on the production of our own. Of course, there will always be those fortunate enough to be able to freely indulge in both but they are in a significant minority in the room in which I'm sitting!
Books, on the other hand, are a different proposition and I can find time and cash to buy books of work by photographers whose works I could never imagine being able to afford on the basis that I will derive more pleasure from them than I will from prints in my price range.
That's not to say there no wish-list on stand-by in the event of a windfall. Let me see .... Atget, Strand, Weston, Baltz, Izu. Where would I stop?
Keep dreamin' for 2002 ... Walter
HI Dan, Good post. I just went through my "collection" and found out I have many more than I thought I had. Some of my favorites include an 8x10 silver contact by Cole Weston of his father at Point Lobos, an 11x14 silver contact by Howard Bond, platinum prints by Ryuijie, Tillman Crane, and Robert Almeida. I also have prints by Edward Gillum, Fred Picker, David Vestal, Henry Gilpin, Charles Farmer, Roger Fremier, Oliver Schuchard and my latest one is a wonderful 4x5 contact print by Jay Dusard. Going to workshops is a great way to get good deals on fine original prints plus the Ansel Adams Yosemite prints are still reasonable. Of all the prints I have I still believe my own prints are the most important ones, that may be a bit bias. Best wishes for a new year William Blunt
I have a policy that whenever I have a successful show or an especially good sale (if a collector buys a series of prints, for example) then I use some of the money to buy someone else's work. So I have a small collection of photographs that I have purchased as a result of this policy.
David E. Rose
I consider myself fortunate that my list includes Strand, Kenna Clergue, Brett and Edward Weston, Bond, Picker, Sexton, Riboud, Norman Carver, Walker Evans and a few others. I can't imagine loving photography as most of us do and not wanting to own at least a few prints. If you can't spring for a regular original silver print, check out the Lenswork special edition prints- they are a bargain. I try to buy at least one print a year, usually at Xmas time. Guess that means I'm due!
I have prints from five other photographers; a few were gifts, a few trades, a c ouple of purchases. No big names, just photos I like and still like after living with them for years.
I think, generally speaking, that photographers have a hard time actually payi ng money for others' photos, aside from "big names."
Richard M. Coda
I have made a few "great buys" for my collection. I, too, have the Cole Weston portrait of Edward at Pt. Lobos (Ialso came with a Cole signed copy of the "Flame of Recognition". I also have a Cole/Edward print of China Cove that I got on a "clearance sale" from Aperture Gallery many years ago. It included a slipcased, Cole signed/numbered book "Edward Weston: His Life and Photographs" AND the print - all for $230. The book was worth $100 alone. The print is now worth $4500. Not bad for a $130 investment. A few obligatory Ansel Special Editions. I also have a print by Daniel Anderson (bought at Josephus Daniels Gallery) that I absolutely love. I never heard about him again until a few weeks ago. He has a few "collectors prints" at Photo Techniques magazine. Also a few Charles Farmer prints. And some from photographers that I have personally met (George Van Meter, George Peirce and others). I have several areas in my home - the dining and living rooms are mine. I have an Ansel wall in the family room. The Westons are in my office. I think that all photographers should support each other.
Happy New Year, Rich
This is a continuation of any earlier post----an academic activity to refresh my memory of what I have in the way of prints of other photographers hanging on my walls. I made an error by stating a Niepce print--rather it was a Nader portrait of Bakunin. Others which I did not recall at the time of the first posting is as follows: several images by Frank Fiske (portraits of Sioux indians on the reservation), a Polaroid transfer done by a Va. photographer by the name of Paul michael Stevens, a wide view of the Monument Valley done with infared film done by Geir Jordahl, banquet images done by the "Standard Flashlight Co"-NYC, 1939 & 1941 of the French Alsacian Club at the Hotel Pennsylvania(my father & mother prior to their marriage are identified), a banquet image of a Denver freight(horses & wagons) company, Hendrie & Bolthoff, photographer unknown, and an image done by TW Gaddy of Denver.
Images which I had but parted with with major regret at this time are: Paul Strand's #12 series Mexico, a Robert Capa image, Vietnam, a Mark Chester portrait of Jack Nichalson who was just honored at the Kennedy Center earlier this month and a Underwood & Underwood image of Cambell's BlueBird. I mentioned the loss of the Great Salt Air by John Telford. The majority of these images were purchased in mid to late 80's, the most expensive was the WV Dyke portrait of Weston.
I regret parting with my "friends" at this time. I have purchased prints over the years because I believe in the medium and certainly, it has been a hardship to cough up the money. I would do more if I could and certain books are of importance to me (purchases) and my ever expanding bibliotheque as they are "friends" as well. I do not want to imply a bosting response to Dan's question. It is good to hear others out there who are "collecting" or who are wishihg to do so------after all we are a small "band of brothers" who work & beleive in the "universal language" of the world. With respect, Raymond A. Bleesz
It would be nice to have a venue where photographers could exchange prints with each other. I've heard that artists working in other media do this sometims. I cannot really afford the prints I have seen at galleries (e.g. Walker Evens or Eugene Smith at $4,000+. I have purchased a few anonymous prints at antique shops or flea markets that I enjoy very much. Perhaps I enjoy them even more because nobody has put a price on them.
I have quite a few original prints, some trades, some purchases at benefit auctions. They include Keith Carter, Builder Levy, Thomas Brummett, Beahan & McPhee, Jack Carnell, Ron Traver, Jeanne Birdsall, etc & etc. Just a few days ago, I bought a series of 4 James Abbott inkjet prints (put together as one piece) of his 4x5 Polaroids of the Benjamin Franklin Bridge in Philadelphia. I gave it to my husband for Christmas (and to myself, of course!)
40 or 50 years ago the only way to get good prints was photographically. Today, the best books and posters are better than most of the prints being sold. Have a look at Smith and Chmlee's Lodima Press books for the absolute pinacle of reproduction. Prints I bought for a few hundred dollars are worth more than the walls they hang on. I only regret that when a Pepper #30 came up for $10,000, that I didn't have the money.
When the Twin Towers collapsed I felt less inclined to spend money on photographic hardware. I had lost interest, it didn't seem important. But I felt a strong need for the presence of beauty, so I bought Nude Provencal by Willy Ronis, for my wife and myself to enjoy every day.
I collect photographic portraits of photographers who's work has made ongoing impression on me over the years.
Every few years I buy an original work, and I have had some given to me, or given in exchange etc.
Although photography books can be incredibly good and beautiful, it's apples and oranges as far as I am concerned.
Ah Raymond, you just ruined my day. I was in the process of typing a message to you, asking where you got your Niepce print for $500 in the hope that the fool who sold it to you had some more, when you posted your correction. : - )
Hi Dan, I have a few images from other photographers. One is from a negative sent to me to print. The photographer wasn't a printer and the posted image froma neg scan wasn't great so I asked him if he would send me the neg to print. I traded a print for the privilege of printing a great image. He let me keep the neg too. I have a John Wimberley and a couple other prints from good but not known photographers. I like trading prints. I'd love to have a couple of yours I've seen but the price is too steep for me.
Hey Dan, my first impression was how can you become a good photographer if you don't own some of the photography you like? I am lucky enough to have purchased photgraphs by well known photgraphers back when they were cheap! Michael Kenna, Dan Burkholder, etc. Another guy I think is doing Interesting things is Dan Fokus (I think this is the correct name, but not sure).
I beleive is essential to own some prints to grow and learn how to print.
I don't know if Jorge means Dave Fokos or not but he's certainly doing some interesting things these days. I ran across his photos just over a year ago and to my surprise, it turns out that the Dave Fokos I knew from my audio industry days was the same Dave Fokos whose photos I saw in View Camera and B&W magazines! A small world indeed...
Anyway, while I would love to buy other photographers work, the choice comes down to that or buying more supplies to do my own work. Perhaps if I start selling enough of my own work to offset some of my expenses (or -- dare I think it? -- show a profit!) this might change but as it stands now, I'd much rather participate than spectate.
Jeffrey is got it right...!
I have photos from other photogs, But the photos are mostly from friends, One photog does great F1 photos and he prices them to sell, I wish I had famous photogs but ,you know, I like the work from the people I know, that's what makes me like those pics, I remember the person and sometimes I know the subject or the model, These mean alot more to me than what I can sell them for, Because until you sell something , it's not really money.
Maybe we need to have a Large Format Photography Forum print exchange. I exchange with people on a regular basis and it's always nice to see what others consider their important work. And making 15- 20 identical prints is a good darkroom exercise. Any interest out there?
I must admit I only have a few, but my shelves sag under tons of photography boo ks! I know it's not the same as having genuine prints, but it takes less place and you get 60 or more images for a fraction of a print's price. ...Maybe when I'll be rich and have more walls to cover ;-)
One of the few smart things I did when I was young- I had an opportunity to assist Max Yavno and even though I really could have used the money I asked to be paid in prints- those prints keep getting more and more valuable as the years go by... and as I become a more accomplished photographer I realize just how good Max really was. The prints become more beautiful and magical as time passes. I have been buying Gene Kennedy's work, probably a half dozen prints in the last 20 years..starting at about $45.00 in 1979-the print last year 600.00. Have an Edmund Teske that I bought at a "photo-grap" studio party. 15.00 for a print and 1 beer. Over the years have picked up anonimous but beautiful prints where ever found. Last year went to buy some William Reigh prints at Photo LA but couldn't since they were now 1,000.00 ea.-Should have bought them a few years ago for 100.00. When I have shown work (not that often) I always make the prices cheap just to see if anyone is smart enough to buy them. Usually don't sell any but was happy to tell the woman who bought three that the same prints sold for 1000.00 each at a hot shot Downtown gallery. Don't let price stop you-buy what you like.
Richard M. Coda
I'm interested. I used to belong to a group in Rutherford NJ called the "Camera Arts Group". Mostly LF and BW, but some smaller formats and color. We met in the man who started the group's home, once a month, each bringin 3-6 prints. We critiqued them openly. Next month, you could bring in a re-worked print, or new ones. Was a nice getaway.
Would digital LF (LF film, drum scan, digital output) be welcome? My darkroom has been in boxes for 10 years now (long story, marriage, home buying, family starting, business building, ...), but I have decided that 2002 is the year to build a new darkroom.
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