Questions about selling prints

[limr]

I am going to have 9 pictures in a show on Friday and I have a few questions for those of you who are more used to the business side of this crazy photography thang.

Some context in case it makes a difference in your answers to some of the questions:
It's a small local art studio/gallery, part of a 'culture and arts revival' program that has renovated the old town hall and turned it into a concert hall and art gallery. There are 4 other photographers showing their work (including my bf), two of which are at least semi-professional. The theme of the show is 'no digital cameras', although I must say it's a bit of a misnomer. They probably meant no 'traditional' digital gear - no DSLRs or dedicated cameras. There are still going to be iPhone pictures included. Mine (and my bf's) are film shots exclusively.

Questions: 1) I read a few past threads about signing work already but still have a few doubts. Does this sound like the time to sign my prints? Visible on the print, under the mat, or on the back? (I don't want to sign the mat.) I've printed in standard sizes (I'm on a tight budget and Adorama was having a sale, so no custom sizing for me) so there is no white space around the image. If I sign the front, it will be on the actual image, but I don't think it will mar any of the images. I plan to sign small and with black india ink. But perhaps it would be better under the mat?

2) I also made some prints to sell unframed. They'll be unmatted (there's that damn budget again.) Should those be signed as well?

3) Pricing...oh, that's a tough one for me. I don't want to undervalue my work but I also don't want to go too high. I heard one person at least was pricing his 'bigger' prints at $175 (don't ask me the size - the woman who is putting this show together couldn't remember. Just had arms stretched wide. Don't know if that meant the frame or the print.) I've got four 11x14s and five 8x10s. Is $175 a reasonable price for the 11x14? One of them was taken with a medium-format camera - should that one be priced slightly higher? How about 8x10?
And the unmatted prints?

Anything else I should think about? This is my first show (unless you count a fundraiser for the church that was lending meeting space to a photo club I was in years ago) and there's a lot to learn. I'm actually going to be in a second show in April and so these issues will come up for me at least one more time. The April show is just one other photographer and it is exclusively Polaroid work, so that one will be a bigger deal for me. Not that this isn't an exciting opportunity, but I'll be a bit more in the spotlight in April.

Anyway, thanks in advance for any advice you can give! We're hanging the show tomorrow. I'm both nervous and excited for Friday to come.

 

[KmH]

Were the prints made so there was blank paper to facilitate the mat?
If so sign in the blank space near the edge of the image and let the mat cover it. The mat can later be changed so it has a slightly larger window so the signature then shows.

How are the framed prints mounted? Hopefully, they were hinge mounted.

If they were glued to some kind of backing, their value has been greatly reduced.
If you did not use archival quality mat and framing materials, their value has been reduced.

Charge as much as you think the traffic will bear. Bear in mind that you don't make any money if your work doesn't sell.
By the same token, if you don't value your work, neither will others.

One pricing method for just prints is to go by the area of the print.
An 11x14 print is 154 square inches.
At $1 per square inch it would be $154
At $1.50 per square inch it would be $231.

Using psychology, set your prices so they sound a bit less, like $199 instead of $200, Or $174 instead of $175

 

[limr]

Thanks. The area method of pricing helps. I've also read about adding up the cost of all the materials and then adding a $300 mark-up, which would also result in similar pricing.

The photos are hinge-mounted. There's no extra white space on the prints.
Frames were the best I could get on my budget, which was helped because the craft store near me is always having half-off sales on frames and framing.

 

[KmH]

There's no extra white space on the prints.

Then sign on the back of the print.

What kind of prints did you have made? Chromogenic prints (C-print)? Inkjet prints?
Oh. What country are you in?

For my fine art prints I include printed information with each image:

Image Title: Segue the Sky - © 2010 Keith Harrod – All Rights Reserved

Image Description
I am always on the lookout for an interesting looking sunset. November 7, 2010 had such a sunset. I grabbed my camera and quickly headed out the back door of the studio looking for just the right composition. I only made a handful of images and it was all over in about 3 minutes. The intensity of the colors in a sunset can change so very rapidly. If you snooze, you lose, and I almost missed it all.
What attracted my attention to the sunset was the realization that some of the sky and cloud colors had complimentary colors that were analogue to the colors of fall leaves. Like the fall leaves had segued their colors onto the sky.
The image is a chromogenic print on archival, Kodak Professional Supra Endura VC Digital Paper, and the print was made November 9, 2010.
The base image was made using a Nikon D300 with a Nikon 50mm lens mounted - (f/1.8, 1/1250, ISO 200.)

Artistic Philosophy
I was never fully satisfied as an artist until I discovered that for me, melding the technical aspects of photography with my knowledge of visual art and graphic design principles, yielded in the digital darkroom the kind of results I had been craving.

Technical Notes
I use Nikon, Digital Single Lens Reflex cameras, and Nikon Nikkor lenses. I currently use the Nikon D300, and D3 DSLR’s.
When supplemental lighting is needed or desired, I use a minimalist, on location, professional strobist approach using a variety of speedlights, light modifiers, stands, reflectors, diffusers, and whatever else is effective.
My digital darkroom is a profiled, dual display, Dell work station loaded with a variety of digital darkroom applications including the industry-standard, current professional version of Adobe Photoshop.
My images are reproduced for me by a variety of professional print labs on a variety of professional papers using both giclée and chromogenic printing technologies.

Sincerely

 

[The_Traveler]

To be honest, this may be over-thinking the issue; there is an excellent chance that none will be sold.
Just pick a number that will get you 3x the cost and that you will be happy with.

 

[limr]

Then sign on the back of the print.

What kind of prints did you have made? Chromogenic prints (C-print)? Inkjet prints?
Oh. What country are you in?

For my fine art prints I include printed information with each image:

I'm in the US, NY/NJ/CT tri-state area. The prints are inkjet, ordered from Adorama.
I like the idea of the information with the image, but I don't think it's happening for me on Friday. I might consider it for my Polaroid show in April, though.

To be honest, this may be over-thinking the issue; there is an excellent chance that none will be sold.
Just pick a number that will get you 3x the cost and that you will be happy with.

You're absolutely right about the chance that nothing will sell. I would be very surprised if I did sell something, but I'm just trying to lower the chances that this lack of sales is due to unreasonable pricing - either too low ("Why is it only $50?") or too high ("Who the hell does she think she is?"). But I do tend to over-analyze, so I can appreciate the advice to just chill

 

[The_Traveler]

You're absolutely right about the chance that nothing will sell. I would be very surprised if I did sell something, but I'm just trying to lower the chances that this lack of sales is due to unreasonable pricing - either too low ("Why is it only $50?") or too high ("Who the hell does she think she is?"). But I do tend to over-analyze, so I can appreciate the advice to just chill

Please don't take my remark as any insinuation about your work.
I'm in a show now (15 pieces), have no expectation of selling anything and am totally content to chalk up any expense of money and time to the effort to boost my ego.

 

[limr]

You're absolutely right about the chance that nothing will sell. I would be very surprised if I did sell something, but I'm just trying to lower the chances that this lack of sales is due to unreasonable pricing - either too low ("Why is it only $50?") or too high ("Who the hell does she think she is?"). But I do tend to over-analyze, so I can appreciate the advice to just chill

Please don't take my remark as any insinuation about your work.
I'm in a show now (15 pieces), have no expectation of selling anything and am totally content to chalk up any expense of money and time to the effort to boost my ego.

Oh no worries, I didn't take it that way. I saw it more as a remark on how these things just tend to go. I agreed to be part of the show more for the experience and exposure than for any possibility of making any money out of it. It would be really nice, of course, but it's important to manage my expectations

 

[Helen B]

I didn't know that Adorama offered inkjet prints. I sign, date and title on the back of the print and add information about the materials and print type (as specific as possible, to give info about predicted life and display conditions) version and edition. If there are any special care requirements they would be added as well.

 

[pixmedic]

im not much of an "artistic" guy....which is why i sell pictures people ASK me to take, rather than take pictures and then try to sell them.
I would calculate what it actually COSTS to make those prints. time, materials, print costs....and then decide how much profit over that you think you can get.
art is subjective. you could price a print out at $200 and one person might think its the biggest rip off, and the next person might think they are getting a great bargain.
it may take a few shows in your area to determine where a good price point for your work is. you could also try Ebay, or your own online gallery.

 

[Ilovemycam]

I sign my prints on the back. They also have the name of the image, date and copyright info. They are all archival pigment prints and are listed as such.

Can't help with the $. But the $ in the OP sounds doable.

Some museums have asked my about values. I tell them $200 to $300 a print. Or they can value them for $10 to $1000... I don't care. But I also tell them I consider my prints more valuable that the phony, staged self portraits selling for millions a print. My work is honest, real and exceptional.

(nude warning)

freezingtime

But the fact is I never have sold a print, I only donate them to public institutions.

When $ enters the equation it ruins photography for me. While not rich, I have enough $ to do as I please. So I will shoot a thing for free if I like it...but will refuse to shoot a thing for $ if I don't like it.

Bottom line is a 13 x 19 print costs me $6 to $7 to make a museum quality Fine Art Baryta...so in the big picture...they are almost free to give out.

Good luck!

PS: Would like to hear about your 2 photog relationship. I always wondered how they would work out.

PS #2 Send in some pix of the gallery showing. I like to see the turnout and display.

 

[limr]

I didn't know that Adorama offered inkjet prints. I sign, date and title on the back of the print and add information about the materials and print type (as specific as possible, to give info about predicted life and display conditions) version and edition. If there are any special care requirements they would be added as well.

Technically it's Adorama Pix: Online Photo Books, Prints, Calendar, Digital Photo Printing Services - AdoramaPix I always forget the "pix" part of it.

im not much of an "artistic" guy....which is why i sell pictures people ASK me to take, rather than take pictures and then try to sell them.
...
it may take a few shows in your area to determine where a good price point for your work is. you could also try Ebay, or your own online gallery.

Pixmedic, I read a thread you started about doing impromptu beach shots at a wedding and I have to say, hats off to you and other wedding/aspiring wedding photographers. This is a big reason I don't want to be a commercial photographer. I detest weddings as it is, but to have to deal with crap like that? Seriously, good for you for putting up with clients and still doing good work.

As for the online gallery, it's a thought. I am sure this first show is going to be mostly a learning experience and I do plan on taking notes!

I sign my prints on the back. They also have the name of the image, date and copyright info. They are all archival pigment prints and are listed as such.
...
Good luck!

PS: Would like to hear about your 2 photog relationship. I always wondered how they would work out.

PS #2 Send in some pix of the gallery showing. I like to see the turnout and display.

Thanks!
And that's one more vote for signing on the back. It seems like the way to go and I'm comfortable it.

The two photog relationship works quite well. We have different enough styles that we don't step on each other's toes but similar enough that we can help each other out. He's better with technical details of exposure and equipment (and he comes in quite handy when a camera needs repair!) so he helps me be more systematic, and I am more 'artsy' if you will, and help him try different compositions and lighting. We both have cameras with us most of the time and neither one gets annoyed at "Hang on, I need to take this shot" or the "Stop! Get out of the way!" when one of us walks unwittingly into the other's frame. It does help that we've known each other for over 20 years (as friends, and then as a couple for the past 8 years.) The problem is that we are both crap at talking each other out of more gear Luckily we're both pretty dedicated to film and older cameras so at least our gear is more affordable.

I do plan on taking pictures at the opening. Am even playing with the idea of a long pinhole exposure just for kicks and giggles

Thank you everyone for the wonderful advice!

 

[Helen B]

OK, so technically I should have written "I didn't know that Adorama Pix offered inkjet prints." Which page are they on? Thanks.

 

[KmH]

From AdoramaPix web site:

Choose from four different paper finishes: Lustre, Matte, Glossy, Metallic. Over 25 different print sizes.
]We use Kodak Professional Supra Endura in Lustre, Matte, Glossy and Kodak Professional Metallic. One of these papers is just right for your work. All Supra Endura media deliver Saturated color with exceptional, accurate flesh-tone reproduction.

That is all c-print paper, not inkjet paper.

Adorama Pix shows they do canvas prints, and metal prints, but I didn't see any inkjet prints offered either.
A lot of online labs call their inkjet prints 'fine art' prints.

 

[Helen B]

In addition to the Supra, I think they also use Ilford Express for B&W, but that is not inkjet either - it's RC silver halide B&W paper.