Alumnus Michael J Quinn’s New Print Portfolio

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I have been honing my photographic skills over the last several years. Making strides in composition, storytelling and mechanics of photography, I still lacked some finer processing skills and the art of printing. I decided that a print is the ultimate goal of a photographer. There is just something very tangible, very permanent about a print. Anybody can flick through a series of images on an electronic device. But actually taking the time to make a print, matting, framing, hung on the wall and lit well -takes considerable more effort. It also then requires more contemplation by the audience. I think they place more weight and value on the print than in electronic form. They are more willing to commit more time with the print.

During the span of a year, I completed both of John Paul’s Intermediate and Advance printing classes. At that point, I believed that I had achieved the skills required to attempt my own Print Portfolio.

There is just something substantial about the physical print. Let’s face it, we can casually look through tons of images on our electronic devices. They are there and then gone. But having a book full of prints is something completely different. You engage two more of your senses, touch, and smell. Every book has a certain feel and personal experience to it. It evokes more of an emotional response than the electronic equivalent.

So my goal with this project was severalfold.
1. Create a body of work of 24 images
2. Improve my image processing
3. Improve my print quality / skills
4. Share with as many people as I can
A decision had to be made on the format of the book. Landscape, Portrait, or Square. I deiced that the square format was the most versatile of the three. With a square book, I could print any aspect ratio that I wanted and not feel constrained to a particular style. Since I knew this book was going to be a work in progress and may change over time, I thought being versatile was a good trade-off versus being locked into a portrait or landscape format.

The next decision that I had to make was the size of the book. I based this partly on the common size of paper available. The other influence was what kind of reaction I wanted from people when they viewed the book. I made 5 prints on 13×14 inch and 17×18 inch papers and then just stapled them together to simulate the two sizes of the book I was considering. I printed horizontal, vertical and square images. I had my own opinion and then solicited several peoples opinions. The larger size won hands down. You would not think that 4 extra inches would make that dramatic of a difference but it really did. It took the scale of the book from something casual to something cherished. The larger size was just so much more engaging.

The paper choice for my Epson 9900 printer, (after some experimentation) Epson Ultrasmooth. It brought an extra dimension of depth to my ice images. The warmth of the paper gave an extra separation to the printed images. I decided that the easiest form factor would be to use 17″ wide roll paper. Then I would just allow the printer to cut the sheets to a length of 18″. This way I would not have to do any post printing trimming of the prints.

For the physical book, I had a custom binding post book and slip cover made. I choose the binding post style so that it would be easy to replace prints and so that I could completely change the theme of the book if I desired. For materials I choose Black on Black on Black. This might be generic, or called corporate, but I liked the neutrality of it and its future potential. Each of the three surfaces were a different material, so that added a subtle variation to the book. I added just a splash of Red into my debossed logo. The inner front and back sheets are sanded mylar. This essentially adds an end sheet to the book and enhances the experience when opening the book.

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I learned a lot through this process. It was a great growth experience. Having a project focuses your mind and creativity. Completing a project gives you a sense of accomplishment. Sharing the experience – I hope I can inspire all of you to do something wonderful.

Find out more about Michael J Quinn here.

Free PDF – All About Limited Editions

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Edition structures disclose the number of prints that will be made of an image. Edition structures vary widely – some are open (without limit) and some are limited.
There are no standards for limited edition sizes. Practices change at least once a decade – sometimes more. Fifty years ago, the practice of limiting photographic editions was unheard of. Thirty years ago, the practice of limiting photographic editions became wide-spread. Twenty years ago, the most widespread edition structure contained 50. Ten years ago, a large number of editions were offered at 25. Today, many editions are restricted to 12 or fewer. Tomorrow’s edition structures will likely change again. Throughout that time, while there has been a constant trend favoring limited editions of increasingly small size, open editions have persisted and succeeded.
One should note that average photographic print prices have escalated substantially in that time, far in excess of economic inflation. This escalation isn’t uniform in the market; the low end has remained relatively unchanged, while the high end has exploded.
Should you limit your editions?
Should you buy only limited edition photographs?
Before you decide, find out more in this free PDF.
Subscribe to Insights enews and download it free.
Learn more in my digital photography and digital printing workshops.

Why Make Prints ?

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This is an excerpt from my article on Digital Photo Pro.

Why Make Prints ?
Making prints does so many things for your images. How many things? Let me count the ways …
They’re …
Sensual
Prints enhance your images with material qualities and the associations they bring with them.
Sizeable
Prints define the scale of your images.
Durable
Historically, it’s the images that were printed that survived.
Salable
Because they’re physical, prints are easily bought and sold.
Exclusive
Images in print are more rare, as well as less accessible.
Presentable
Prints encourage images to be viewed in different ways.
What Making Prints Can Do For You
When you make a print, you consider your images more carefully for a longer period of time and often multiple times. This adds up. It’s quite likely that along the way you’ll find many ways to improve your images. Repeat this process many times, and you’ll find that your vision as a whole will improve.
Read more on Digital Photo Pro.
Learn more in my digital photography and digital printing workshops.

You're Invited ! – Annual Open Studio Exhibit – 7/31-8/1

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You’re invited! Come visit my annual open studio event July 31 – August 1 from 10-5. Gallery talks are at 2.
It’s been one of my most prolific years to date. Producing more than one hundred new images, four bodies of work, in progress for ten years, have been brought to completion. The results are surprising, even for me.
Three new books featuring this work have been released – Reflection, Condensation, and Correspondence – which you can preview and purchase online.
Also on hand will be my playful iPhone photo sketches, some of which are featured in my column on the Huffington Post. I’ll even take, process, and transmit some during my daily artist’s talks at 2 pm.
Come enjoy prints, books, web galleries, performances and conversations during this very special event.
Click here for more information including directions, previews, reviews, statements, audio, video, and press kit.

FRAGILE – Packing & Shipping Prints

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Let people know your work is valuable – even when you’re not there to tell them about it. Add a label. FRAGILE. Make it look official. Buy it preprinted. Or print it yourself. Or stamp it. Make it big. It’s a mandate not a disclaimer to be hidden in small text. Make it red. Red attracts attention. Put it on both sides of a package. Make sure no one can miss it.
If you want to go the extra distance, add a second label. HANDLE WITH CARE. It’s implied when you use ‘fragile’ but it never hurts to restate your case. People will pay attention. The whole point is to remind them to be considerate. It also sends a message to the people receiving your work. This is valuable.

Read more Printing Tips.
Learn more in my Fine Art Digital Printing Workshops.

Packing & Shipping

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Getting there. It’s important. How you do this is a sign of professionalism.
Imagine. Your work is great. Your prints are great. Your mats are great. Your frames are great.  Your presentation and follow up materials are great. But, you ship it all in a thin cardboard box that looks like it was put together by a serial killer. You use a cheap delivery service, so, after having gone missing for several days, your work arrives late. The damp remains smell like they’ve been chainsmoking and they look like they’ve been stepped on by an elephant. Everything is damaged – including your professional relationships and your reputation. After all the care you put into your work, it looks bad and so do you. You’ll have to absorb additional expenses. You just made more work for yourself and for the person receiving your work. Your exhibit is in now in a state of crisis. Your customer is dissatisfied. You may lose the opportunity or the sale you just made. What can you do to avoid this?
1 Pack your work professionally.
2 Use a professional shipping service.
Read the rest in the current issue of Photoshop User.
Read more in my Printing Downloads.
Learn more in my Fine Art Digital Printing Workshops.

The Most Expensive Photographs Ever Sold


Have you ever wondered what photographs are worth at auction?
Here are three photos that won the highest bids to date.
Andreas Gurky’s 99 cent II, Diptych, the first photograph to sell for more than $3 million, sold for $3,340,456 at a Sotheby’s auction in London, February 2007.
Edward Steichen’s “The Pond – Moonlight”, once the world’s highest selling photograph, was sold for $2,928,000 at Sotheby’s in New York in February, 2006.
Richard Prince’s “Anonymous (Cowboy)”, the first photograph to reach $1 million, sold for $1,248,000 at Christie’s in New York in November 2005.
See what’s at auction at Sotheby’s.
See what’s at auction at Christie’s.
The live auction benefit for Maine Media Workshops is happening now on eBay Live Auctions.
Tell us what you think about the prices of photographs today. Comment!

Benefit Auction for MMW Goes Online


Tomorrow, July 1, 2008 the Maine Media Workshops hosts an online Benefit Auction of Photographs, the school’s first public fundraiser since achieving non-profit status in 2007.
Auction items include generous gifts of work from many Workshops photography faculty and friends. Artist’s contributing include Dan Burkholder, Paul and John Paul Caponigro, Robert Farber, Micheal Grecco, Greg Heisler, Connie Imboden, Stephen Johnson, Sean Kernan, Jay Maisel, Sally Mann, Andrea Modica, Elizabeth Opalenik, George Tice, William Wegman, Maggie Taylor, Joyce Tenneson, and many, many more.
The live auction preview is currently available on eBay Live Auctions. The auction will take place July 1. You can either bid real-time as the auction unfolds or leave absentee bids for your favorite pieces. All bidders, even current eBay customers, need to pre-register online for this one-day live auction prior to July 1. Workshops alumni, friends, and collectors of fine photographs will not want to miss this sale!
Tell us about your favorite photographic treasures. Comment here.