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EXCLUSIVE SUBSCRIBER CONTENT THE BUSINESS ® OF FINE- PRINT SALES

PHOTO © RITTY TACSUM/COURTESY OF HELEN JONES-FLORIO GALLERY

Tips for pricing your prints, managing your and selling without a gallery— plus much more.

A PUBLICATION OF PDN’S EXCLUSIVE THE BUSINESS SUBSCRIBER OF FINE-ART CONTENT PRINT SALES PHOTO BY ANSEL ADAMS/© DEPARTMENT OF THE INTERIOR. NATIONAL PARK SERVICE. BRANCH OF STILL AND MOTION PICTURES AND MOTION OF STILL SERVICE. BRANCH PARK THE INTERIOR. NATIONAL OF DEPARTMENT ADAMS/© ANSEL BY PHOTO "The Tetons—Snake River, Grand Teton National Park, Wyoming" by Ansel Adams, from "Ansel Adams Photographs of National Parks and Monuments, 194 - 1942." Adams printed his classic “Moonrise, Hernandez, New Mexico" more than 1,000 times. One print was sold in February 2018 for $41,600 by Swann Auction Galleries.

A SHORT HISTORY OF LIMITED-EDITION In the roughly 40 years photographers have been limiting editions to create scarcity, edition sizes have shrunk. BY WALKER

or much of the of the first to issue limited his work. By the late-Eighties, Novak. Ironically, the twentieth century, editions, was an exception, the idea of limiting editions practice of issuing limited F most photographers but didn’t complete many of to create scarcity and drive editions increased the didn’t issue limited-edition his editions because demand up prices started to catch on supply of photographic prints. Paul Strand, Walker didn’t warrant it. among many photo dealers prints, notes Stephen Evans, Robert Frank, Harry In the Seventies, Ansel and photographers. Perloff, editor of The Photo Callahan, Lee Friedlander Adams announced he would “The typical edition Review. Photographers and others printed on stop his , was 50 to 100” prints at used to print as needed, demand. Edward Weston, one which drove up the prices of that time, says dealer Alex usually only a few images

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"Rhein II," 1999, by Andreas Gursky sold for $4.3 million at a Christie's New York auction in 2011. © ANDREAS GURSKY/CHRISTIE'S IMAGES, LTD., 2011 LTD., GURSKY/CHRISTIE'S IMAGES, ANDREAS ©

at a time, he explains. Once Which brings us to by making much larger prints What hasn’t changed, they started printing entire contemporary like and by making much smaller though, are the long odds editions, a lot of prints got Andreas Gursky, who prints editions.” Photographers face against any demand at all. made, but many never sold. his works in large formats, a dilemma in determining the Only a tiny fraction of limited Of course, the market and in editions of fewer size of their editions: How to editions ever sell out. Making (collectors, dealers, than ten. One of his works, balance the positive effects of a work scarce doesn’t boost its photographers) focuses “Rhein II,” was auctioned in scarcity on price against the value unless collectors take an attention on the effects of 2011 for $4.3 million. (The negative effects of closing off interest in the work for some scarcity on the images that work was from an edition their artistic (and economic) other reason first (e.g., the sell, not the images that sit of six.) options. Setting an edition work is esthetically stunning, in dealers’ drawers. Adams’s Perloff observes, “The size is a crapshoot, though, or it’s by, say, Gursky.) Then, “Moonrise, Hernandez, numbers in an edition have because there’s no way to limiting the number of copies New Mexico,” which the definitely decreased. Ten predict future demand for can be a huge benefit, and a photographer printed more used to be very rare, fewer your work. trap, too. than 1,000 times, is the oft- unheard of. Now they’re cited example. The prints common. It started with the still fetch tens of thousands ‘artists’ and migrated to the of dollars, which begs the ‘photographers.’ Eggleston is Has a collector or approached you to a new work? question: What might it a fine example as his dealers Our article about how to price commissions can help you negotiate the fee: pdnonline.com/features/fine-art-photography/ be worth if there were far try to move him into the how-to-negotiate-prices-for-commissioned-prints/ fewer of them? contemporary both

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A GUIDE TO PRICING YOUR PRINTS What to consider when setting or raising prices. BY HOLLY STUART HUGHES

ne of the mysteries of the fine-art market O is how prices for an ’s work are determined. For photographers just beginning to sell their fine-art prints, the question is: How much are collectors and willing to pay to own one of their photographs? Among newcomers, a common mistake is setting prices too high. “If you are an emerging artist and have exhibited very little, there’s an expectation that the work is not very expensive,” says Martin McNamara, who formerly owned Gallery 339 in Philadelphia. Andrea Meislin, owner of Meislin Projects in New York City, notes, “For example, a may say, ‘I love this work [but] I’m not paying © ADAM KATSEFF/COURTESY SASHA WOLF PROJECTS SASHA KATSEFF/COURTESY ADAM © this, because this feels like "River XVII" by Adam Katseff from the series "Rivers and Falls." Before setting a price, gallery owners recommend doing price a very high price for a comparrisons of comparable works on the market. “Just go to galleries and look at the price lists,” recommends new artist.’” Sasha Wolf, who represents Katseff. High prices may “scare away” collectors, Meislin says. Once the mistake has been artists should carefully and what factors determine of their products by limiting made, it’s hard to solve. research the market before the price of prints, we asked their editions—producing Every gallery owner PDN setting a price, recommends several gallery owners for tips only a set number of prints spoke to agreed: You can Jan Potts, co-owner of on how to find the right price at a given size. The size of a always raise prices, but you Corden|Potts Gallery in San for fine-art photographs. print can also affect pricing: can never lower them. Francisco: “The fact that they a 16 x 20-inch print in an That’s because collectors shouldn’t lower prices is a edition of four is priced buy photographs as an good reason [for artists] to THE BASICS: higher than an 8 x 10-inch investment. “You want to create start pricing their prints at a SUPPLY AND DEMAND print from an edition of ten. the perception that the value level maybe a little lower than As in any market, the price While a photographer can of your work is stable or going they’d like, to see how well of fine-art prints is based on limit supply, it’s difficult to up. You don’t want to create their work sells.” supply and demand. Though calculate demand. The prices the perception that the value of To help photographers photographs can be endlessly for prints are ultimately the work is going down,” understand how to research reproduced, photographers determined by how much says McNamara. Emerging the market for their work, are able to limit the supply collectors will pay.

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In addition to pricing their Artists are represented by “I THINK IT’S BEST TO MOVE work too high, Meislin finds more than one gallery, and SLOWLY AND NOT GET CARRIED the most common mistake have to keep their prices AWAY. I DO WELL TAKING BABY emerging artists make is consistent. However, some STEPS WITH PRICES—I THINK issuing editions that are bargaining over list price MY CLIENTS TRUST AND too large. Keeping editions does take place. For example, APPRECIATE THIS APPROACH.” small—ideally six prints or Meislin says, “ ask less, she says—is increasingly for discounts, and friends of ART DEALER SASHA WOLF important, she believes, the gallery—collectors who as more are consistently interested collectors used to investing in artists and supporters in one-of-a-kind of their work—want to feel $3,200 to $4,000; and 48 x Shikama makes palladium/ begin photographs. they’re getting a, quote, 60-inch prints in an edition of platinum prints on both “I beg artists to issue one ‘friends and family discount.’ five for $6,000 to $7,500. watercolor-type paper and on edition of three to five,” she We do build that into the Artists new to the market Japanese gampi paper. “He says, but many want to print price a little bit.” sometimes worry low prices charges more for an on more, because they want To get a sense of what will make them appear the gampi than for the same more inventory. their own work should sell less serious in the eyes image on the water-color Meislin also believes the for, photographers should of collectors. “I’ve heard paper because the gampi is a value of a single print may look at work by fellow that,” Potts says, “but lower handmade paper and is much be diminished if there are photographers at a similar prices can attract a different trickier to print on.” too many similar images in point in their careers. What sort of collector—often the However, new artists the public eye; that can be a most affects pricing is a ones who are just starting should avoid spending problem for photographers photographer’s “professional to collect—and that’s not exorbitantly on the mounting who make the transition accomplishments,” says necessarily a bad thing.” or printing of their work from shooting on assignment McNamara. “Where have For photographers worried unless they’re sure they for clients who want many you exhibited, and where about low prices, a gallery can command a price that images to selling select are those museums in terms may suggest setting stepped will cover their costs. images to collectors. of their prestige in the art prices for prints in an edition. McNamara warns, “The world? Have you received, “Let’s say it’s an edition of question becomes how for example, a Guggenheim six. We’ll say the first two will willing collectors are to pay RESEARCHING or other grant? Those things be $1,500 or $1,800 and let’s for expensive processes.” An COMPARABLES contribute to a kind of base see what happens,” Meislin artist who has spent a lot on Before setting a price, gallery line of where one might think explains. “If they sell to good processing may expect “a owners recommend doing about pricing.” collectors, then we know price that’s way higher than research into the price of Photographers should we have something here the artist commands,” he says, comparable works on the also research pricing on and if you decide to make but collectors will ask, “Why market. To do that, “Just go work with the same subject the last ones [in the edition] would I pay this price for to galleries and look at the matter or produced using remarkably higher, that’s someone who’s unknown?” price lists,” recommends similar techniques. When your choice.” Like other gallery owners, art dealer Sasha Wolf. Gallery 339 signed Tetsugo Meislin believes “slow and Art fairs such as AIPAD Hyakutake, a young Japanese steady” is the best way for (Association of International photographer, WHAT INFLUENCES a photographer to increase Photography Art Dealers), “I’d look around at other PRICES prices. However, in 2004 where exhibiting galleries landscape photographers,” Career accomplishments when she began representing post prices in their booths, McNamara says. The gallery and past sales have far more photographer Barry are also a resource for sold the photographer's impact on an artist’s price Frydlender, then in his 50s, comparing prices on work photographer’s 20 x 25-inch than the costs of materials he had sold few prints. In his by several artists. A gallery’s prints in an edition of 15 for or techniques used to make first exhibition, he wanted listed prices are usually $1,500 to $2,200; 32 x 40-inch the prints. Potts notes that the first four prints in his accurate, McNamara says: prints in an edition of five for photographer Takeshi edition of small prints to sell

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for $7,000; larger prints were “MANY PHOTOGRAPHERS THINK $10,000, “and then number THAT ONCE THEY HAVE A GALLERY, five was $20,000 to $25,000,” THEIR WORK WILL SELL MORE Meislin recalls. “I was very, OR LESS AUTOMATICALLY. very nervous but he was THAT’S NOT TRUE. THEY NEED right, we just about sold out TO TAKE AN ACTIVE PART IN all of his pictures.” Interest MARKETING THEIR WORK.” in the show was bolstered by rave reviews, but scarcity JAN POTTS, CORDEN|POTTS also helped, she says. “He is not a prolific artist,” she says. “It sometimes takes him two, three years to make one and let hem know a price of depth and picture.” His work has now raise will go into effect.” In breadth that is marked to been acquired by the Museum Fougeron’s case, the gallery go to a museum upon the of Fine , Houston, the decided to delay the increase collector’s death or at some J. Paul Getty Museum, the until just after an upcoming predetermined point.” Museum of Contemporary AIPAD show; during the Acquisitions by major Art, Los Angeles, and other fair, McNamara could tell museums, Meislin says, are institutions, and new prints prospective buyers that "an important validation sell for $140,000. Fougeron’s prices would soon that puts the work in an art be going up. historical context. This affects Wolf discusses raising collectors’ perception in turn.” WHEN TO prices when prints from a Reaching that pinnacle RAISE PRICES photo series begins to sell may take a few years, as well Typically, a photographer and out, especially if there are as a lot of work. gallery discuss raising prices few images in the series. “Many photographers think once the photographer has a For example, Adam Katseff that once they have a gallery, track record of sales both to made only a few images in their work will sell more or less collectors and institutions. his "Rivers and Falls" series, automatically. That’s not true. Says Potts, “Price increases which sold well. Wolf says of They need to take an active often affect a photographer’s price hikes, “I think it’s best part in marketing their work,” entire body of work, but they to move slowly and not get says Potts. sometimes will just affect a carried away. I do well taking “The main thing to very popular series.” baby steps with prices—I remember about pricing is A few years ago, after she think my clients trust and that it’s the market that will had been selling work for a appreciate this approach.” ultimately determine what a number of years, photographer Gallery owners agree that photographer can charge for Martine Fougeron talked to what drives up the perceived their work. And if the McNamara about raising her value of a photographer’s photographer works hard, prices. “She had exhibited the work are sales to curators and has a good gallery or galleries, work in a number of places respected collectors. “If I sold and has a bit of luck on their and was getting a reasonable work to two or three major side, their prices may amount of attention and museums by a young artist eventually get to where they’d had won competitions,” he I would consider that the like them to be.” recalls. Once they agreed, equivalent of selling a serious the price increase became a amount of prints to casual marketing tool. McNamara collectors,” Wolf explains. Are you making work? Read this story to learn how gallerists explains, “Maybe you contact Also significant are sales are pricing video: pdnonline.com/features/fine-art-photography/ people who have been loyally to “important” collections, gallerists-discuss-pricing-presenting-fine-art-video-work/ purchasing the artist’s work which Wolf defines as “any

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productivity is, what their “Subway,” 2012, one of Lori Nix’s photos of detailed miniature tableaux. It appears in her , The City (Decode ). financial needs are,” says Klein. We asked gallerists and photographers about their long-term strategy for print sales and learned the steps photographers can take to make informed decisions.

THE IMPORTANCE OF RECORD KEEPING It’s essential for artists to track how many prints they’ve sold or given away. That way, “If someone calls and says, ‘I like this image. Where is it in the edition?’ we know,” says Michael Foley of Foley Gallery. Whenever he signs new artists, Foley asks about the numbers and sizes of prints of each work that they’ve already sold or given to friends or family. “If we © LORI NIX AND KATHLEEN GERBER/COURTOSEY OF CLAMPART GERBER/COURTOSEY AND KATHLEEN NIX © LORI edition the work at the same size as the prints that are out HOW TO MANAGE there, we have to consider YOUR INVENTORY OF those part of the editions.” Photographer Jessica LIMITED-EDITION PRINTS Todd Harper recorded her first sales in a notebook, Photographers and galleriests discuss the importance of, then switched to an Excel and methods for, managing an artist's print inventory spreadsheet. Although throughout their career. BY HOLLY STUART HUGHES she is now represented by two galleries, she still keeps records herself. he fine-art market Limiting editions, however, market, and their own future “The buck stops with the is based on scarcity. means photographers have prospects, are so unpredictable. photographer—the gallery T Although a photograph less inventory to sell. How “Am I keeping one or two could go out of business, you can be reproduced endlessly, should photographers balance prints for my retirement? I could leave the gallery, but it’s artists limit their editions, the short-term goal of selling wish, but I’m usually so in need your brand. It’s up to you.” giving buyers a guarantee as many prints as possible of money in the present, that When Nix updates her that they will release a finite against the long-term goals of I sell every print I can,” says records, she shares them with number of prints at a given preserving the value of their Lori Nix, who has had several her six galleries. She believes size. “The collectors have to archives and creating a legacy editions sell out. “I’m also that Excel is most efficient believe there’s integrity to for the future? Once an edition hopeful, perhaps naively, that for “keeping track of prices, what you’re selling, and the of prints sells out, “You can’t I will continue to make strong especially price increments.” edition numbers have to mean just print one for posterity,” work when I’m in my 50s and All of the photographers something,” says Robert Klein, says private dealer Lee Marks 60s and so on.” and dealers interviewed owner of Robert Klein Gallery. of Lee Marks . The decision to sell or save for this story use stepped “That confidence is vital to Many photographers are is highly personal. “You have pricing: In an edition of ten, sustaining a career in the reluctant to forego sales now to take into account who the for example, prints 1 through fine-art photography world.” when the vagaries of the artist is, what their level of 3 sell for the lowest price

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and numbers 4 through 6 hors de commerce, meaning “THE BUCK STOPS WITH THE cost more, up through the ‘outside of business,’” (often PHOTOGRAPHER—THE GALLERY last print, which is “priced abbreviated “HC”). COULD GO OUT OF BUSINESS, YOU on request,” says Marks. “I think the artist’s proof COULD LEAVE THE GALLERY, BUT Keeping accurate records should be hands off,” says IT’S YOUR BRAND. IT’S UP TO YOU.” about the status of a print—if Foley. “It goes in the safety it’s reserved for a prospective deposit box to be used by JESSICA TODD HARPER buyer, for example, or on loan the artist at a future date.” for an exhibition—prevents If a museum comes looking mistakes, such as selling the someday for an artist’s early BEFORE THE LAST third print in an edition for work, Foley says, “I don’t PRINT SELLS says Marks, but adds, “You’re the price of the fourth. want to say the editions are going to make good work in the Foley says record keeping all sold out—and that the For the last print in an future, but it’ll be different.” is simple. “Just make an artist’s proofs are sold, too.” edition, a photographer can Marks says that when Excel spreadsheet for the He offers a caveat, negotiate the current market photographer Davis first body of work, then next to however. Once an edition value. But there are other began her self-portrait series each image, list the sizes and sells out, the APs can sell for considerations besides price. over a decade ago, “The last number.” The list could also whatever the market will How photographers think thing she was thinking about be organized by year: “These bear. “If an artist has a book about their equity or legacy was her legacy.” She has now are all the prints I made in project coming up or really is often a reflection of their published the work in a book, 2014.” He recommends adding needs funding and can sell career goals or their age. Eleven Years (Kehrer Verlag), thumbnail images because this print for $8,000, maybe For new photographers, has photos from the series in “titles are hard to keep track that’s a good investment.” selling out an edition can 20 museums, and has made of.” When he sells a print, Artists sometimes donate build buyers’ confidence new work. Marks counseled he checks off the number or APs to charity auctions, in their work, Klein says. Davis to consider saving some writes in the buyer’s name and too. “In a perfect world, For some more established prints from the series: “The shares the revised chart with you’d give your best work,” artists in his gallery stable, material is so brave and gutsy, other galleries representing says photographer Julie however, the last print in I think it’s important to hang the artist. If artists keep Blackmon, but artists should an edition is reserved for onto those.” Marks explains, records “from the get-go,” he consider how many prints of “museums and prestigious “She might not come across says, “it becomes habit.” the image they have left. collections,” he says. an idea that resonates with Photographer Jen Davis Photographer Sze Tsung as many people as that. The says that early in her career Leong says he decides on an work may be just as good, but WHAT’S YOURS she often donated APs, some image-by-image basis what it might not sell as well. It may TO GIVE for images “that were already prints to keep for himself. sell better, but who knows?” In addition to the numbered highly sold.” In hindsight, “It’s extremely important The market can be fickle. prints in an edition, she says, “Perhaps I should to me that my work be part Nix says she has seen photographers make one or have chosen a lesser-known of public collections and photography careers wax and two “artist’s proofs.” The term photograph to give, or a that it be accessible to the wane. “Only time will tell if comes from , and smaller print.” Now, she public.” He adds, “Museums my work will rise in equity. in photography it originally checks first with Marks, are also interested in a wider Fingers crossed,” she says. referred to the final tests her dealer, and chooses the and more challenging range “I think if I can continue to made after a photographer causes and events she wants of images than collectors make work that is thought- refined a print of a negative, to support with care. generally are.” provoking, relevant and Marks explains. Although Marks says that charity “Photographers who desirable, then I am master artists have to disclose to auctions are “tricky”: “I don’t have depth to their work will of my equity.” buyers how many artist’s like to have things go for a third continue to make good work,” proofs (APs) exist, they are of what I’m selling them for.” for the artist’s personal use Klein recommends making a and are traditionally not separate “donation print” at See how Davis and other photographers arranged for the sale sold at the same time as the a different size, so as not to of a particular print to help fund the publication of photo books at pdnonline.com/features/photo-books/selling-prints-to-fund- edition prints. Marks notes, “pollute the price structure of books-its-complicated/ “The French expression is the market,” he says.

8 PDN’S EXCLUSIVE THE BUSINESS SUBSCRIBER OF FINE-ART CONTENT PRINT SALES PHOTO BY APRIL FRIDGES BY PHOTO One of Sara Macel’s images hangs on a collector’s wall. When she ships her work, “I try to add personal touches to show it’s coming straight from me,” says Macel.

HOW TO SELL PRINTS WITHOUT A GALLERY Photographers are selling fine-art prints directly to fans and collectors. We talked to photographers about how they handle customer service, shipping and filling orders. BY HOLLY STUART HUGHES

any photographers emails from people who who would like to see and Photographers who who shoot wanted to buy an image buy his work—it just needed a choose to sell prints M assignments receive they had seen in a magazine little marketing.” In 2010, she themselves take a variety requests to sell prints of or online. Florio wouldn’t made up business cards, set of approaches, from selling popular images. These can always have time to respond. up a gallery page on Florio’s small, open editions at low offer extra income and a way His wife, Helen Jones- website, created a form that prices to appeal to a high to reach a new audience, Florio, told him he was potential buyers could submit volume of buyers, to selling but promoting sales and missing an opportunity. “If to receive price lists and print limited editions at gallery- filling orders takes time. people were already buying sizes and, she says, “began to level prices. But in either Documentary photographer his work, without any proper actively promote print sales” case, they have to establish Jason Florio, for example, promotion, then there had through newsletters, social ways to monitor print quality, would occasionally receive to be more people out there media and word of mouth. handle payments, and manage

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PRICING FOR THE “A normal person my CUSTOMER BASE age can’t lay out that kind of Many photographers who money,” he notes. “I make don’t specialize in fine-art work so that people can photography sell their first have it, not just look at it on prints to fans who want an a screen.” As he moved from image they saw online. Kyle fine-art work to shooting for Johnson, a Seattle-based magazines, he began selling editorial and commercial zines and inexpensive, 5×7 shooter says that he’s or odd-sized prints on his received many requests blog; now he’ll announce a from people interested in print sale once or twice a year purchasing prints of his travel to his Instagram followers. and landscape images. “Each Typically, he offers an image time was from someone he’s already printed for $20 browsing my website or less. “I’m always making and sending me an email prints of my work, and I inquiring about that specific don’t have enough space for image,” he says. He sells stuff,” he says. If he’s shot these as limited edition, large an assignment and printed a prints – up to 30×40 inches. proof he’s excited about, he When he receives a query, he says, “I’ll say: I’ll just print 15 may send a wider selection of more of this and sell it.” images from the same shoot Jones-Florio says buyers to give the buyer an option. she has worked with To make some extra range “across the board—a income one summer, Johnson combination of private decided to hold a five-day collectors [and] interior sale of inexpensive, open designers buying work for © JASON FLORIO/COURTESY OF HELEN JONES-FLORIO GALLERY JONES-FLORIO OF HELEN FLORIO/COURTESY JASON © edition 11×14 prints. Not clients.” Through her online "Painted Face" by Jason Florio whose prints are sold online by Helen Jones-Florio. wanting to “devalue” other gallery, she is selling limited prints he’s sold, he chose to edition prints that come with make the prints from a small certificates of authenticity, shipping. There is no way to fine-art photographer who number of outtakes, and but she and Florio have also streamline customer service. has been selling prints announced the sale on his offered “affordable,” open Jones-Florio launched an herself for more than six personal Facebook page. “I edition 8×10 prints. Many of online gallery to showcase years, communicating with wanted a chance for friends the buyers of the lower-priced work by Florio and six other collectors and enclosing to have a more affordable work, she says, simply liked the photographers. Though a note with each package print and to get more physical image—and didn’t care about buyers can view images she ships takes effort, but printed work out in the its scarcity or sales history. online, request a price list it helps forge a connection world,” he explains. Macel says when she and place orders via email, with a potential supporter. By keeping the sale began selling prints, she customers expect personal She advises photographers, short and offering only a didn’t bother with editions. interaction. “People often like “Truly put forth the effort to few images, he limited the People contacted her after to have direct contact [with personalize and send a thank amount he spent promoting seeing her work online or in the seller]. It opens a dialogue you note. It does nothing but the sale and printing images. gallery owner Jen Bekman’s and helps put their mind at help you.” New York-based editorial “Hey, Hot Shot” group show ease,” she says. “They may To learn what photographers photographer Ryan Pfluger for emerging artists. “I think want to talk about options, need to know to sell their has sold 20×24 prints in in the beginning, the people budget, sizes, editions, prints themselves, we asked editions of five, first through who were approaching which may entail a couple of photographers who’ve done a gallery that used to me were new collectors emails, or a phone call, back so how they manage each represent his work and then themselves. They saw an and forth.” To Sara Macel, a step of the process. on his own. image and wanted it. I don’t

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think they were savvy enough she’s chosen from the “PEOPLE OFTEN LIKE TO to ask those questions” about photographers’ archives in HAVE DIRECT CONTACT edition sizes. the “flat files” section of the [WITH THE SELLER]. IT OPENS When she entered website, or by contacting A DIALOGUE AND HELPS PUT graduate school in 2009, Jones-Florio. “I don’t want THEIR MIND AT EASE.” Macel learned more about the HJF Gallery to be like an the business of art overstocked warehouse,” she HELEN JONES-FLORIO galleries. She now makes her says. “I don’t want people to prints in only three sizes. get overwhelmed.” “I like to keep editions to Macel says that any time if the couple is out of town, printer,” she adds. For 12 at most, and as the size her work is published or will arrange to show prints to example, when she shipped of the print goes up, the featured in an auction for customers who might want to prints from her series “May edition size gets smaller.” If publications such as Fraction preview them in person. Other the Road Rise to Meet You,” a buyer isn’t an experienced or a nonprofit art space she photographers represented by about her father’s work as collector, she educates them supports, “I notice a little bit Jones-Florio are responsible a traveling salesperson, she about the print’s size and of a bump in sales.” She also for printing and shipping wrote thank you notes on edition. “I say that this is promotes her work herself in a their own work via insured, vintage travel postcards. the third out of five, and it’s “low-key” way, she says. At the trackable mail, and for “It could take all day to get in this collection—so they holidays, she sends collectors following up with the buyer to a print ready to send understand what they are a note and a small print; confirm receipt. someone,” Macel notes. “But investing in.” Macel, who she’s also followed up with Macel tells her buyers at the end of the day, I’d hopes to sign with a gallery collectors by sending a copy of that once she has received rather invest my time in that, in the future, carefully tracks her book, May the Road Rise to payment via PayPal or a credit and knowing that my work is her sales and inventory. She Meet You. “It’s a way of staying card transaction, shipping in a collector’s home.” keeps spreadsheets on each in touch, and sending them a can take about two weeks, Eventually she hopes to sign project, noting sale price, nice note, but also reminding and costs between $100 and with a gallery that will “take the collector, and how many them that I might have more $150, depending on the size of my work to a new level,” but prints at each size have sold. stuff they can buy.” the print: “I feel that if you’re she says there are advantages going to invest $800 in a print, to handling her own print MARKETING PRINTING, SHIPPING, then you don’t mind spending sales. “I keep all the profits,” Jones-Florio notes, “We’ve MAILING $100 to make sure it gets she notes, and she has the done well with interior Packing and mailing prints is to you properly.” She ships flexibility to accept payment designers because they “a ton of work, unless you have prints in containers made in installments, or to barter have the budgets, and they a full-time studio manager by Masterpak, which have with fellow artists. And appreciate esthetics.” To and one or two interns,” says foam corners to hold prints she appreciates the promote the photographers Pfluger. Many photographers in place. The containers then connections she makes with her gallery represents, she prefer to leave that chore slip into hard-sided sleeves. her collecting base. “I’m a researches which interior to the lab that also handles When one of her prints is in a firm believer in thank you designers purchase art for their printing. Johnson, for charity auction or about to be notes, so even if I were private clients, commercial example, has his images on featured, Macel will stock up working with a gallery, I like developments or the file with White House Custom on Masterpak containers and to think I could still reach out hospitality industry. She Colour, “which has an option make extra prints so she can with a personal note,” she emails a sample PDF with no for slightly more money to ship orders quickly. says. “I can’t get over the more than six images. “We’ve ship directly to a client.” The “I try to add personal compliment of someone had a good response. They Florios work with their lab, touches to show it’s coming saying: I want to invest in say, ‘We’ll put you in our file which handles shipping and, straight from me, not the this print.” of suppliers,’” she says. Her gallery website showcases a few images from Finding it a struggle to write an artist statement? Photographers offer advice on conquering the each of the photographers dread and writing a useful statement that works for galleries, collectors and grant applications. pdnonline.com/features/fine-art-photography/conquering-dreaded-artist-statement-expert- she represents; buyers advice-writing-art-photography can browse more images

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WHAT TO EXPECT FROM THE PHOTOGRAPHER/GALLERY RELATIONSHIP Whether you have a contract or a hand-shake deal with a gallery, it's valuable to know the types of representation galleries provide and who pays for what. BY EDGAR ALLEN BEEM

ecuring representation photography consultant “SOME PHOTOGRAPHERS SEEM by a gallery is Mary Virginia Swanson, TO THINK THAT 50 PERCENT S often seen as the author of The Business [COMMISSION] IS TOO HIGH. BUT brass ring of a fine-art of Photography. “Many WITH THE COST OF OVERHEAD photography career, a galleries don’t use one, so AND ART FAIRS, A GALLERY validation of an artist’s value. artists need to sit down WOULD HAVE TO SELL A LOT OF But photographers often with a dealer if they PHOTOGRAPHS TO MAKE THAT. don’t know what to expect don’t provide a contract ARTISTS DON’T ALWAYS SEE from a gallery, or what to discuss what the WHAT GALLERIES HAVE TO PAY.” galleries expect in return. expectations are.” Who pays for what? Who Swanson suggests artists CIG HARVEY manages the inventory? Can then write a memorandum the photographer expect of understanding, stating an exhibition soon? PDN what they understand surveyed photographers about the arrangement and galleries about the in terms of commissions, ins and outs of gallery insurance, production London and Amsterdam. photographer and gallery representations, asking what costs and exclusivity “But with the cost of part ways. points of confusion should (that is, if the gallery will overhead and art fairs, a “It does get confusing,” be discussed, and how be the photographer’s gallery would have to sell a says Maja Orsic, former photographers can make the sole representative). lot of photographs to make director of the Robert Klein most of their relationship that. Artists don’t always see Gallery in Boston. “We may with a gallery. Here’s what what galleries have to pay.” own the mount, and the we learned. COMMISSIONS Artists generally pay artist owns the print, but & COSTS production costs, while they can’t be separated.” In general, artists and galleries pay promotional costs. Orsic says Robert Klein CONTRACTS & galleries work on a 50-50 split Whoever is doing the shipping has occasionally chosen to HANDSHAKES for print sales. pays the shipping costs. purchase a photograph in The first bone of contention “Some photographers Artists sometimes fear that such circumstances. is contracts. Some people seem to think that 50 galleries will assert ownership One of the most common think they are a good idea, percent [commission] is too over photographs they paid complaints about art but we couldn’t find any high,” says Cig Harvey, a to produce. Galleries say that galleries is about slow photographers or gallerists photographer in Rockport, artists should be willing to payment—or no payment. who had signed one. Maine, who is represented reimburse a gallery for the “There are an awful lot of “A written document by galleries in Maine, Boston, cost of mounting and framing galleries that don’t pay their is essential,” insists noted New York, Los Angeles, a photograph, should the artists,” says Alex Novak, a

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private dealer in Chalfont, when it takes prints from before they are really Photographer Dave Pa., and publisher of the an artist. The gallery will selling stuff.” Duncan Anderson of Little Rock, E-Photo Newsletter. “It’s take work for one year, and Miller Gallery only takes Ark., is represented by not unusual for galleries to then check on how well the a 30 percent commission galleries in Atlanta, New delay payment or not pay relationship has worked and on the sale of work by York, San Francisco and at all. On the other hand, whether “there are no sales, or Verge Photographers. Newport Beach, Calif., but many, many galleries make a if there are a certain number he cautions that even some practice of paying on time.” of sales,” Orsic explains. well-established galleries Novak advises artists to do Not all artists in WHAT “EXCLUSIVITY” might not be worth an due diligence before they enter any given gallery are & COMMITMENT MEAN artist’s time. into a gallery relationship. represented in the same way. Most photographers with “There was one gallery “The first thing an artist For example, an artist with gallery representation have where I was very impressed or photographer should do international stature, such their work sold by several by the dealer’s curatorial is check out how a gallery as Brazilian photographer geographically dispersed eye,” Anderson recalls. works and pays. You go to Sebastião Salgado, does not galleries, but even dealers “He had a lot of interesting their website and you contact provide prints for inventory. disagree over the issue photographs and some major their artists. Ask them, ‘Do Representing Salgado simply of exclusivity. exhibitions. But then I came they really represent you? Do means the artist will ship “We all want artists to to the realization that I they pay photographers on a print to a gallery if it has make a good living and it’s didn’t see a second show for time? What kind of people a buyer. “Some artists are virtually impossible to do any of the artists.” are they?’” directly represented,” adds that with one gallery,” says Harvey agrees that Orsic. “Some we work with gallerist Miller. photographers should through other galleries.” But Novak says, “If “want someone you can TYPES OF She cites photographers an artist is in a lot of grow with, make a life REPRESENTATION Paulette Tavormina and galleries, I don’t want to with. It would be awful to Emerging photographers Gregory Vershbow as represent them. Over time, be dumped after one show. are sometimes unaware of artists included in Robert a photographer will sell When you’re just starting the different kinds of gallery Klein’s primary gallery. less with a dozen galleries out, you’re so desperate to representation. These can “With Paulette and Gregory, competing. They bid down have representation, but include the gallery taking we were the first gallery the price.” He cites the you have to hold out for the a few prints to sell on to take them on, so we example of one well-known right one. You don’t want a consignment, including a helped establish their price photographer who made one-night stand.” few of the artist’s prints in a structure,” Orsic says. “For millions of dollars in the "Lack of a long-term vision group show, or an invitation Paulette, we consign her 1990s, but “over-exposure with some artists can cause to join the gallery’s stable work out to galleries around killed him.” problems,” he adds. “I’ve of artists. Galleries make a the world.” distinction between “artists Art dealer Daniel Miller in inventory” and “artists of Duncan Miller Gallery represented.” in Santa Monica, Calif., has “I always have work in created a category he calls my flat files by artists I don’t “representation lite.” The represent,” says New York gallery “sponsors” members “I ALWAYS HAVE WORK IN art dealer Daniel Cooney of the Verge Photographers MY FLAT FILES BY ARTISTS I of Daniel Cooney Fine Art. group of emerging artists. DON’T REPRESENT. SOMEONE “Someone might consign ten "Verge is on our website, MIGHT CONSIGN TEN PRINTS. prints. There is definitely but we don't represent THERE IS DEFINITELY WORK work in my inventory that is them," says Miller. “We IN MY INVENTORY THAT IS not on the wall.” also sponsored a booth NOT ON THE WALL.” Some galleries use at Photo LA. It’s a way of consignment agreements supporting photographers DANIEL COONEY, DANIEL COONEY FINE ART

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“WHEN YOU’RE JUST STARTING missing,” he says. “The only OUT, YOU’RE SO DESPERATE answer to [the problem] is TO HAVE REPRESENTATION, to have an industry-wide, BUT YOU HAVE TO HOLD OUT accepted system of print FOR THE RIGHT ONE. YOU DON’T tracking, and that seems WANT A ONE-NIGHT STAND.” highly unlikely.” The Association of CIG HARVEY International Photography Art Dealers has a code of ethics that simply states: “Members agree to honor all contracts, invoices and consignment had a couple of instances artist’s proofs they have and agreements.” There are, when a first show didn’t how many images they’ve however, no established sell and the artist said, ‘I sold. “But [artists] don’t standards or guidelines for don’t want to show with you keep records of what we artist-gallery relations. anymore.’ It can definitely have. We keep records of “Early in my career,” happen on both ends. But what we have, what leaves Carter says, “a dealer told me, I feel more determined if the gallery for sale or for ‘Keith, the way these things nothing sells.” approval or to museums. work is however you can get Photographer Keith We try to keep a paper trail them to work.’” Carter of Beaumont, Texas, is of everything.” Ultimately, the represented by eight galleries Cooney, the art dealer, photography art scene around the country. He says cautions that, “It’s a mom- is a small world where that keeping track of so and-pop business. Not a lot personal and professional many relationships can be is really written down. A lot relationships are often challenging without help. of people leave things. Most inseparable. That being the “Many photographers of what I have in the flat files case, it behooves artists and would benefit from having a are not signed.” He adds, gallerists alike to be sensitive business manager,” advises “I have stuff from artists I to one another’s needs. Carter. “Mine has been have parted ways with. In “You’re only as good as my wife, Pat. She’s careful, one situation, an artist left your reputation,” says Carter. thoughtful, patient and firm. unsigned prints for five “Word gets around pretty I, as the artist, am a wuss. I years. I threw them away. quickly. You want to be want everybody to like me. Then they sued me for the honorable. If you want to Many artists are just not retail value and I had to pay traverse the gallery world, the beautifully organized.” them something.” first order of business is to do Artist Anderson, too, good, solid work and try to had an incident when he left keep evolving. Look for a MANAGING a gallery and gallery you can have a INVENTORY the gallery could not find relationship with and where Keeping track of inventory a print he had consigned for someone cares about your can be a headache for both sale. “They were honorable work. A little of that goes a artists and galleries. and paid me for what was long way.” “One difficulty we come up against is artists relying on the gallery to organize their prints,” says Orsic, To learn about another avenue for print sales, read our story about working with art advisors: including keeping count pdnonline.com/features/fine-art-photography/how-to-get-noticed-and-commissioned-by-an-art-advisor/ of how many prints are in an edition, how many

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