What do you do with proof prints or prints that are only 98%? Do you ever save copies for yourself? Or do you always trash them? (I am talking about paid work, not your own.)
Thanks!
What do you do with proof prints or prints that are only 98%? Do you ever save copies for yourself? Or do you always trash them? (I am talking about paid work, not your own.)
Thanks!
Never keep seconds ... Always ask the photographer to sign a printer proof which I keep for retirement....I only keep imagery that I will hang on my walls..
To date I have over 200 signed pieces that someday will be auctioned off for my retirement needs.
It is the kiss of death not to make your clients aware of your policys, and everyone that works with me understand that I may want a signed printer proof.
Never have kept an image without my client being aware of the fact.
Originally Posted by bob carnie
Do you explain your retirement story to them? Or just ask for a signed copy as part of your print fee?
Do you just do it with large prints, famous photogs or?
What about museums / galleries? You make a print and it is not perfect...but almost perfect...do you trash it?
No , I tell each client that I have decided I want one of their prints and leave it at that, I let them know its a printer proof and is mine. I try to keep the smaller prints in the 16 x20 range as the big murals take up too much space.
I have traded scanning services for some pretty famous images that were produced for a local gallery show... the estate did not have
money for scanning and printing and I offered up the services to be able to keep one colour and one black white final print , of the series. Two prints for about four days work.
In my business a lot of printers did not do this and when the world went digital , some did not do so well as the client base completely moved.
I always trash prints that I do not think are worthy of hanging. I see no mileage in keeping second quality prints.
The signed print is not part of my print fee... I have a day rate plus the clients pay for the materials .. This allows me never to worry about wastage, never
worry whether the client will like my job or not... I encourage my main clients that pay this rate to spend time in the darkroom with me and sign off on the density's, styles
toning and so on.
I am working with a very well know photographer who worked with musicians in the 60's, He still prints silver , but together we are making a platinum/carbon edition of his most
compelling musicians. For this all I want is a signed print of each image for myself as the fee, no cost to him on all scans , negative output and final multiple printing on aluminum.. this is taking about three years to complete as there is a large cataloque to go through.
If a client does not want me to have printer proofs , but wants me to print for them our relationship does not go too far and basically I move in other directions.
I have always wanted to work with photographers who work on long term projects and with that are not famous when I meet them , we work together and 1 out of 10 move forward
to the gallery / museum world.
I have never approached photographers to work with them , specifically those with known bodies of work..... To me the print/image has already been done by someone else and all I can add is copying another printers work , which does not interest me in the least.
I opened my small shop in 1991 and twenty years later some of my clients work is getting recognition and some are still unknown but will land on the museum/gallery circuits within the next five years.
Retirement is a funny word , as I do not intend to stop printing , I see no reason too as I love Printing, so all the prints I am collecting will be shown at shows over the next years and at some
point auctioned off or given to Canadian archives.
I got lucky in life,, 1970 I was a west coast high lead logger and not very happy, went to photography school and fell in love with silver prints emerging from trays... going into the darkroom today while most Canadians are enjoying the May 24 weekend. My wife and I are building a monster darkroom in our living space to continue our love of printing.. she's a pretty shit hot printer herself.
So if you are planning a career of printing for other then I feel its important , to only produce the best you can, throw out the seconds and keep a history of your accomplishments by insisting on signed printer proofs.
[QUOTE=bob carnie;889134 . . . To date I have over 200 signed pieces that someday will be auctioned off for my retirement needs. . . . "
How do you handle this from a Canadian income tax standpoint? Under U.S. law you'd be required to report the value of the prints as income, which could present a cash flow problem if they're valuable enough to eventually serve as your retirement fund (i.e. you'd report their value as income each year which would increase your tax liability but since you're saving them to sell later they don't produce any current cash with which to pay the taxes). Does Canadian tax law not require you to report their value when you keep them?
Brian Ellis
Before you criticize someone, walk a mile in their shoes. That way when you do criticize them you'll be
a mile away and you'll have their shoes.
Good Question
I have my place insured for artwork but until I sell the pieces I have not made any income from these pieces.
When I sell , auction, donate then I believe the Tax man will want his share.
At this point its work hanging on my wall for my own pleasure.
[QUOTE=Brian Ellis;889914][QUOTE=bob carnie;889134 . . . To date I have over 200 signed pieces that someday will be auctioned off for my retirement needs. . . . "
How do you handle this from a Canadian income tax standpoint? Under U.S. law you'd be required to report the value of the prints as income, which could present a cash flow problem if they're valuable enough to eventually serve as your retirement fund (i.e. you'd report their value as income each year which would increase your tax liability but since you're saving them to sell later they don't produce any current cash with which to pay the taxes). Does Canadian tax law not require you to report their value when you keep them?[/QUOTE]
In my experience, b.a.t. prints (bon a trier, or literally "good to print" if my grade school french memories are correct) are a staple in the printmaking world. When we edition a print at school, it's typically an edition of 10, 2 artists proofs, 2 press proofs and a bat. I ran across a guide somewhere on the interwebs that had a recommended quantity listing for various print runs.
Several visiting artists we've had over the last couple of years have remarked that other schools tend to be more liberal in their press proof quantities, some wanting several press proofs, as well as the first of an edition.
When I print an edition of fine art repro's for artists, there's an entire section in the contract stipulating the bat and press proofs are retained, with signatures. To date no artist has ever complained or questioned it.
I've heard the term 'proof' over the years but did not know what it meant.
Is a proof print one of the first prints on a run? Can it be different / lesser quality than a standard run print?
What exactly does 'proof' mean?
FYI: PhotoBiz -> Editioning
thanks for posting this
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