From: Dan Smith, Photographer (shooter@brigham.net)
Date: 05/27/00-11:45:16 AM Z
----- Original Message -----
From: "Carl Weese" > A couple of other points about "editioning". Gallery
owner John
> Stevenson has a snappy but fairly cogent answer to the point that
> negatives don't share the degradation with printing that happens to
> intaglio media. He explains photographic editions by saying, "no, the
> negative won't wear out, but the photographer will if he prints it too
> often."
>
> Another edition point is that while silver prints and platinum prints
> can be made in a run of essentially identical copies, like a proper
> intaglio edition, this isn't necessarily the best idea. I'm a firm
> believer that there usually is no one single best or necessary
> interpretation of a negative. Certainly not of mine. Quite disparate
> printings can often be equally valid interpretations of a picture. Does
> this turn them into semi-monoprints? Can an edition be made up of
> non-identical prints? Can a picture be 'editioned' in a limited number
> of prints that may be in different media?
So, the question here mirrors the ones Carl asks.
If one does do a limited edition, how do you feel with taking your sweet
time doing it & interpreting the negative a bit differently during the
printing life of the edition rather than trying to do 10, 100 or whatever
images exactly the same?
I also have a number of images that can be printed varying ways, all with
those who think 'that way' is the best interpretation of the negative. Do I
do so? And, if so, do I need to publish the 2-5 variations as viewable
images for those who want to order one so they have a full range of prints
to see before deciding on how to best spend their money?
I know some who print in silver and then go with platinum or other
alt-process and price differently. This is fine. But many try to keep the
print pretty much the same even though a different process rather than
re-interpreting it.
What works for those who have looked at this one?
dan smith
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