“Portfolio reviews and networking have been really helpful to me, to find out what people do, what galleries and curators want,” she says. Preston Gannaway says portfolio reviews can be a good resource, “if you can afford them.” She says she would go to one or two a year and “ask about the nuts and bolts” of selling work, in addition to showing her photographs.
At mostly any gallery exhibition, there is a checklist available, he notes. When he was first determining his pricing and edition sizes, Soldi looked at how other artists who were “at a similar level and doing similar work” were pricing their prints. Soldi says the logic was: “Maybe you charge a little bit less but you still make around the same amount of money, and you can sell prints to more people earlier in your career.” Look Around at Fairs, Exhibitions and Reviews
After he proposed making editions of five at a certain price, she suggested he increase the edition to ten and offer them at a slightly lower price per print. When he was first selling his work, Rafael Soldi knew Seattle gallerist Gail Gibson well enough to ask her advice. “They said: You have too many sizes.” He was advised to offer prints at only three or four sizes, to offer larger prints in editions of five or less, “and make sure you have an artist’s proof in there,” he says. “I said: Here’s my price list,” he recalls. When commercial photographer Reuben Wu decided to sell his personal projects as editioned prints, he consulted gallery directors. He learns a lot just “through conversations with people who have more experience.” Murff says making connections with other people working in fine-art photography has been essential. “You always have this feeling like, this is just something I should know, but everyone’s learning from someone else,” he says. © Zora J Murffīeing unafraid-and unembarrassed-to admit that you do not have all the answers is key, says Zora J Murff. From Zora J Murff’s book At No Point In Between. (No collector who buys a print wants to see it offered at a lower price later on.)įortunately, there is plenty of information available that can help photographers make an informed decision about editioning and pricing, and peers, gallerists and others with more experience are often willing to offer advice. There are few hard and fast rules, beyond the axiom that you can always raise your prices but should never lower them, because you undermine the value of your work. Determining how to price and edition work can be particularly difficult. Learning the business of professional fine-art photography can be challenging, especially for emerging photographers.
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