Misc

Vince DeBari

To : artshow_photo@yahoogroups.com

Subject : Re: [artshow_photo] just a test

Date : Tue, 7 Oct 2003 11:55:19 -0700 (PDT)

Sean,

Working fine. I visited your website...beautiful
work; classic, "pure" and with a wonderful eye for
composition.

Vince
--- Sean wrote:
> test
>
> --
> Fine Art Black & White Photography
> http://www.sbphoto.net



"John F. Johnson" Save to Address Book

To :


Subject : RE: [artshow_photo] SLR


Date : Tue, 7 Oct 2003 12:50:38 -0700

Vicki,

Might have some old Nikon gear.

Send more info.

John F. Johnson
Doublejay Visions
http://www.doublejayvisions.com

Photos - Choosing what to Sell

"Anthony Cospito | popbox studios" Save to Address Book

To :

Subject : [artshow_photo] leaders vs. lemons

Date : Tue, 7 Oct 2003 16:18:30 -0400

question for the group....

I'm a fine art, fashion photographer in nyc and plan to start selling my
photos online as well at local art expos.
Can anyone tell me what categories of photography (assuming quality of
shots is very good) are
sure fire hits and what categories are tougher?

Thanks guys - this is a great resource!
AC

Watermarks for Art Work


"John F. Johnson" Save to Address Book

To :

Subject : RE: [artshow_photo] Watermarks for Art Work?

Date : Tue, 7 Oct 2003 12:44:23 -0700

There is html code to have your website protected, but a friend of mine
said
that Google has a way around write protection, and your pictures may show up
anyway. He told me that a string of text needs to be added to prevent that,
and it is found on the web. Search for "robot.txt" in google and you
will
find out what you need to do.


John Johnson
-----Original Message-----
From: Fotograffa@aol.com [mailto:Fotograffa@aol.com]
Sent: Sunday, October 05, 2003 9:10 AM
To: artshow_photo@yahoogroups.com
Subject: Re: [artshow_photo] Watermarks for Art Work?


In a message dated 10/5/2003 8:10:47 AM Eastern Standard Time,
androth99@aol.com writes:

> I'm working on a website for an artist who is worried that his pictures
> will
> be copied once they're on the web

I have my photos on PictureTrail.com/fotograffa and they have a right
protect. It's not like a REAL web site like you're talking about but if
PictureTrail
can do it, I'm sure it can be done. I didn't know about it until I got a
lovely note from a lady who went on forever telling me how wonderful my
photos
were and how they made beautiful greeting cards. I almost choked!! I sent
her
a nice note to thank her and then made sure that would never happen again.
Check out PictureTrail and see how it works.
Take care
Sharon

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Printers and Printing Cost


Brendan

To : artshow_photo@yahoogroups.com

Subject : [artshow_photo] Petition

Date : Tue, 7 Oct 2003 17:37:17 -0400 (EDT)

Just something for those who use ilford inkjet papers,
I have been asking those who are fans of their papers
to email ilford and request they make 13" wie rolls
for those of us who have roll paper cabable printers
like the 1280/2000/2200. You can contact ilford at
www.ilford.com , they have not said how many requests
are needed but did say if there is demand they will
make their papers in 13" rolls since it is available
in 48,36,24" rolls for large format printers.

Thanks everyone.


How I Cut 8x10 Print Costs by 25%


Date : Thu, 04 Sep 2003 14:41:42 -0400

At my Costco's they are still using Fuji chemistry and Crystal Archive paper.

Larry



>I assume they are still printing on Fuji Crystal paper, Are they using Fuji
>Frontier chemicals in the Noritsu 3100?


******************************
In a message dated 9/4/03 1:57:20 AM Eastern Daylight Time,
larry@bermanart.com writes:

<< My local Costco just replaced their Fuji Frontier 370 Printer with a
Noritsu 3100. The advantage is a larger 12x18 instead of the 10x15 the
Frontier was capable of. >>

I assume they are still printing on Fuji Crystal paper, Are they using Fuji
Frontier chemicals in the Noritsu 3100?

One of the issues I pointed out earlier this summer was keeping your
material cost as low as possible so you could price your work competitively
and not be concerned about what your markup was. This also addresses a
recent thread about adding $x.xx to the cost of frames and prints.

My local Costco just replaced their Fuji Frontier 370 Printer with a
Noritsu 3100. The advantage is a larger 12x18 instead of the 10x15 the
Frontier was capable of.

Here's a tip on how to cut your 8x10 prints cost by 25%. I create my 8x10
file as usual adding canvas when needed to make it a full 8x10. I then
create a 12x18 inch blank image in a different color. Then I copy the 8x10
and paste it onto the canvas twice using the move tool to create a
separation between the images. After printing I use a trimmer to trim each
8x10. Of course all files need to be the same pixels per inch. The Noritsu
is optimized for 320 pixels per inch but I have extensive files already
optimized for the Frontier at 300 pixels per inch and they print just fine
with no modification needed.

I used to pay $1.99 for an 8x10 and now pay $2.99 for two 8x10's on a 12x18
cutting my cost to $1.50 per 8x10 print.

As for the new 12x18 size. It doesn't do much for me as it would increases
the overall mat and frame size taking me away from the hundreds of mats I
already have cut to fit a standard 16x20 frame. Therefore I have to copy
and paste my 10x15 files into a 12x18 canvas (like with the 8x10's) and
don't really have to trim them because the excess print is under the mat.

Larry
******************************

Transporting Art Work

I researched several stock cartons in packaging catalogs and could
never find anything that was quite right. I had custom boxes made to
store and transport my framed and unframed prints.Unlike in the past,
there are new corrugated packaging machines that are easily setup to
make custom boxes one at a time. Since there is not elaborate layout,
they can make one or a hundred easily. I know that a lot of people
use whatever boxes they can scavenge, but nothing beats having the
right sized box for your stock... its worth the expense. I ended up
making my boxes a little too large, so I pack 6-7 framed 16 X 20's in
one box with a corrugated separator in between each one. I do not use
any corners or other packaging. I fill the center with shrinkwrapped
prints (since I made the boxes a little too large... they would get
too heavy). Having consistent sized boxes makes it much easier to
cube out my van efficiently. Make sure you specify full flaps, for
strength on the top and bottom. I also had shipping boxes made for
shipping individual frames, it is nice to have them available for
customers if they request them.


I use a local organization that is run by the Association of Retarded
Citizens. It gives mentally challenged adults meaningful work to do,
so it is a good cause. I believe they will ship anywhere. I am sure
there are other companies out there doing the same. Here is their
contact info: ARC Custom Boxes, Rock Island, IL 309-786-2362, FAX
309-786-3680 http://www.arcric.org/CBS.html

Good luck.

Shipping Glass or Plex?

I shipped a 24x24 framed piece with glass today. I use bubble wrap and then
box it in a 25 sheet mat board box. Then I use a second 100 sheet mat board
outer box and pad with crumpled newspaper. I always use FedEx and bill the
recipient's credit card number for shipping. I also charge an additional
$25 for packing.

Larry



>I have been using glass this summer and shipping well wrapped in
>bubble wrap an so far I haven't had any losses. It is more
>expensive in shipping costs but I still prefer mainly because of the
>scratch factor for plexiglass. I would like to hear other opinions.


******************************

Framing

Price will be my first priority, right after product quality and
customer service. I know that you have little chance in business
without good customer service, and I will have zero chance with
people here, without exceptional product quality. Of course, there
are businesses which do not mind sacrificing product quality or
customer service, but I do not like dealing with them, and I would
not like running one.

Concerning product quality, I would not mind hearing about
manufacturers you guys like or dislike that are not already on
Larry's website.

My toughest issue will be selection. I will have to start with a very
small selection to keep my prices down. An obvious selection is thin
black frame, large white mat, and UV plexiglass. I am not exactly
sure about shinny black vs. matte black and exactly what color white
mat. I also have not narrowed down the next best alternative color
frame and alternative color mat although I have some guesses. I was
also planning to offer a slight bottom weight to the mat, but only
enough that you would be able to tell, but not enough that an
uneducated consumer would notice.

Initially I will probably not have enough options to meet the needs
of most of you here, however, the sooner I start trying, the sooner I
will be able to.

Thanks,

Mark Rogers

--- In artshow_photo@yahoogroups.com, essexjerryreed@a... wrote:
> I have been pleased with Florida Frame's offerings and prices.
Their Neilson
> frames are available in all size, so you can use the 35mm format
> enlargements. The company is a sponsor of Larry's site, so that is
a second plus, and
> finally, after shopping around, I was not able to find anyone with
prices as low.
>
> Hope that helps. Sometimes starting a new business (making frames)
can be a
> distraction for your photography, at least I have found it so.
>
> Jerry Reed
>
> hardwire 860 767-1798
> cell: 860 304-0957

I have been using glass this summer and shipping well wrapped in
bubble wrap an so far I haven't had any losses. It is more
expensive in shipping costs but I still prefer mainly because of the
scratch factor for plexiglass. I would like to hear other opinions.
Becky
--- In artshow_photo@yahoogroups.com, "kent" wrote:
> For photographers shipping framed images to clients, are you
shipping glass or plex in the
> frame? For people shipping glass, what are you doing to protect
it, and have you had any
> problems?

"kent"

To : artshow_photo@yahoogroups.com


Subject : [artshow_photo] Shipping Glass or Plex?


Date : Sat, 06 Sep 2003 11:52:23 -0000

For photographers shipping framed images to clients, are you shipping glass or plex in the
frame? For people shipping glass, what are you doing to protect it, and have you had any
problems?

--- In artshow_photo@yahoogroups.com, Dan Shallenberger
wrote:
> If any of you make your own frames, how do you assemble them? What
> techniques and/or tools do you use? I've tried the strap-clamp and
> corner braces, but I'm just doing something wrong here.

Dan,

I've been whacking my own together for some time now...my method is
to use the tried and true cast iron framing clamp, white glue (or
Titebond), and a small Senco air brad nailer that shoots 1 3/16"
brads. The compressor is a small one gallon.

There is no substitute for the old iron clamp, so sell that strap
clamp at your next yard sale...

I use four of the clamps as I like to let each joint set for a
while under pressure, and there's an acclerator added to the white
glue. I also take the base off the clamp and use support blocks laid
further out on the work table to hold the frame rails up when making
large sizes. Taking the base off will allow you to move and hang the
whole thing up on the wall until later, and have your workbench free
to start another joint with another clamp.

Shoot at least one nail into each rail. Make sure each rail is
lying flat in the clamp. Apply the glue liberally and wipe away the
excess: I recommend you have the wood finished first because any
remaining glue will not take stain; then you'll have to paint it to
sell it. Use colored wood filler on any gaps and the nail holes.
Start with the largest sizes you need first and work down, that way
if any of the large ones don't come out, you can resaw them and make
smaller ones from them...however, practice on 8x10s or something
first.

Another tip is to make certain your mitering is dead on, with your
saw set at 90 degrees perpendicular to the work AND the fence (check
it with a small square, regularly) and the framing stick dead flat
against the fence. Clamp it there. I use the Clearmount mitering
system with the 7 foot scale and a 10" Makita chop saw with some
chest hair. Use a 100 tooth saw blade like the Clearmount/Makita
system as well.

Yes, this takes practice...the first 50 frames don't count and you
will still lose a few as you go, just like the pros do, so don't
sweat it. Speaking of pros, my wholesaler has all the up-to-date
framing equipment in use, but the old reliable clamp is still used
everyday too...they have had the same one for 35 years, believe it or
not!

The cheapest place to get the clamps and other framing material is
at www.framingsupplies.com, which is Presto. They also have the best
price on the Clearmount equipment, too.

Andrew Neil Dierks


Ok, I'm trying to go the budget route, and build my own frames. I've
done some basic woodworking for several years, and I thought that
building picture frames would be within my abilities. Well, I've come
up with a method and workflow that works great in building straight,
accurate frame pieces. But my troubles come in at assembly time!

If any of you make your own frames, how do you assemble them? What
techniques and/or tools do you use? I've tried the strap-clamp and
corner braces, but I'm just doing something wrong here.

Any help would be greatly appreciated! I need to have 20 frames built
for a show in mid-October.

Thanks,
Dan

Assembling your booth- How does one person do it?

I have a 10 x10 Flourish mesh panel booth frame that will be covered
with the mesh panel and then the pro gallery cover. The papers that
came with the directions for set-up state that ONE person can
assemble it but two would be better. My question is how does ONE
person assemble it? I have tried and I can not raise the top booth
frame to insert in the first corner piece all by myself. I do not
have anyone to help me at set up or tear down.

Any suggestions???

Thanks,
Carmen

Hi Carmen,

That's the point where you turn to the person in the next booth and ask
them to help for a minute. That's not a problem for most exhibitors.

Larry



>I have a 10 x10 Flourish mesh panel booth frame that will be covered
>with the mesh panel and then the pro gallery cover. The papers that
>came with the directions for set-up state that ONE person can
>assemble it but two would be better. My question is how does ONE
>person assemble it? I have tried and I can not raise the top booth
>frame to insert in the first corner piece all by myself. I do not
>have anyone to help me at set up or tear down.


******************************

Booth Slides for Show Application

I have been wondering about this myself but in a different light.
Would it be acceptable for those of us who scan our photos to have
the scans printed to slide film? Would the slides be of a good enough
quality? Should the image be less than full frame and masked in
Photoshop if I go this route?

There is a printing company here in Atlanta that will print to slide
for less than $5.00 per original. That slide could then be duped.

Matt

===========================================
Matt Jackson Photography
Stock Photography and Fine Art

www.ozimages.com.au/portfolio/mjackson.asp
===========================================



--- In artshow_photo@yahoogroups.com, "rbecklund11"

wrote:
> Is there a preferred way to present your photos on slides for
> jurying? Meaning is it best to just have the photo itself showing
> with all extraneous stuff masked out, or is it better to show it in
> the mat? with all or some of the mat showing and anything else
masked
> out? And what is the best way to mask the slides--using silver
mylar
> tape?
>
> Thanks for any input!
>
> Robbie


Hi Robbie,

I agree that you should just show the photo with out anything else.
I've used the silver mylar tape sold at photo shops for slide
masking. I am a teacher and have done hundreds of slides for my
lectures over the years using it. Just make sure you don't leave it
too long so it could get caught in the slide tray. But there is a
down side as at times it can be very distracting if you can see the
tape when it's projected. This usually happens when the tape gets
pushed onto the film.

The silver tape is very expensive so you could always do it the low
tec way. When rephotographing the images just mask off the areas you
don't want to show with black cardboard. I have many "L" shaped
pieces of them and just lay them on the print. This works extremely
well when rephotographing slides on a light table. I then zoom in to
get as much of the print in as possible. When projected you hardly
notice the dark areas if you've lit it well. Even better you can use
black velvet pieces which if laid flat don't show up at all. Now a
word of caution. Most labs have problems when you give them a roll
shot this way. When the edges of each photo are this black some of
the machines that do the slide mounting have trouble as they can't
tell where the image starts. For the first shot give them a frame
filled with something else, I use a gray card and zoom in on it so
the entire frame is filled. They then use that as a guide frame.

Pam




>HI Robbie,
>
>I've always only shown the image. No mat or frame. It's worked for me.
>
>What I do is prepare a high resolution digital file of the image and mask
>it by adding black canvas so when the slide is projected only the image is
>visible.
>
>It's been a long time for me. Is sliver mylar tape heat resistant for
>projected slides? If so, yes. You would have to unmount the slide and tape
>it. Or just have a lab develop the film and not cut it. Then you tape and
>mount it yourself. You can see how digital might be easier for difficult
>sized images.
>
>Larry
>
>
>
>>Is there a preferred way to present your photos on slides for
>>jurying? Meaning is it best to just have the photo itself showing
>>with all extraneous stuff masked out, or is it better to show it in
>>the mat? with all or some of the mat showing and anything else masked
>>out? And what is the best way to mask the slides--using silver mylar
>>tape?
>
>
>******************************



Hi Robbie,

This is all speculation, but I think the booth slide is more important than
you can anticipate. It's what makes or breaks the presentation you give to
the jury about how professional you really are and it defines your
commitment to this business.

So what do they expect to see? Who knows. I think it varies from show to
show and jury to jury.

I've been told my two wall booth display didn't show enough, but it got me
into some major shows. My new booth slide is more head on showing three
walls but not cluttered. As a matter of fact, I shot my new booth slide
twice in the past month. I got some feedback and wanted to change a few
things so I did it again. The only other suggestion I can make is create a
uniform display and less is more.

No names or signs in the booth for the slide or you won't be juried for the
major shows.

Larry




>My questions are: What is the booth slide really for, is it to show
>what your booth looks like or is it to show how your work looks hung
>together. I'm guessing it's a combination of both. Is one of those
>more important than the other? Is it best to shoot straight on or to
>do a 3/4 type shot where the work is easier to see but you're not
>shooting the whole booth.
>
>Larry I remember seeing a shot of your booth on your website at that
>kind of 3/4 / sideways angle showing two walls. Is this a good
>example of a booth shot?
>
>In general, what weight does the booth slide carry in the jurying
>process for the better shows?
>
>Oh, and is it a good idea to not have signage with your name in the
>booth slide?


******************************

Larry-

THANKS! I really appreciate it. What you say makes lots of sense
regarding the professionalism and commitment.

Robbie

--- In artshow_photo@yahoogroups.com, Larry Berman wrote:
> Hi Robbie,
>
> This is all speculation, but I think the booth slide is more
important than
> you can anticipate. It's what makes or breaks the presentation you
give to
> the jury about how professional you really are and it defines your
> commitment to this business.
>
> So what do they expect to see? Who knows. I think it varies from
show to
> show and jury to jury.
>
> I've been told my two wall booth display didn't show enough, but it
got me
> into some major shows. My new booth slide is more head on showing
three
> walls but not cluttered. As a matter of fact, I shot my new booth
slide
> twice in the past month. I got some feedback and wanted to change a
few
> things so I did it again. The only other suggestion I can make is
create a
> uniform display and less is more.
>
> No names or signs in the booth for the slide or you won't be juried
for the
> major shows.
>
> Larry
>
>
>
>
> >My questions are: What is the booth slide really for, is it to show
> >what your booth looks like or is it to show how your work looks
hung
> >together. I'm guessing it's a combination of both. Is one of those
> >more important than the other? Is it best to shoot straight on or
to
> >do a 3/4 type shot where the work is easier to see but you're not
> >shooting the whole booth.
> >
> >Larry I remember seeing a shot of your booth on your website at
that
> >kind of 3/4 / sideways angle showing two walls. Is this a good
> >example of a booth shot?
> >
> >In general, what weight does the booth slide carry in the jurying
> >process for the better shows?
> >
> >Oh, and is it a good idea to not have signage with your name in the
> >booth slide?
>
>
> ******************************

My First Art Show

Congrats! Where is this festival?


thanks - the Festival of the Cranes at the Bosque del Apacahe, just
south of Socorro, NM.

>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Great! I hope to be shooting at Bosque this fall, perhaps during the
>festival and if I make it, I'll look you up at the show.
>
>Given that the tourists are there to see the Geese and Cranes, you
>certainly need shots of them and I suspect they will be your best
>sellers. One of my best sellers even down here in Louisiana is a Snow
>Goose in flight head on taken at Bosque two years ago, so there are
>certainly killer shots there. Blast off shots taken at slow shutter
>speed from there work for me as well and if you have managed to get
>some of the shots where the mist in the ponds turns red, those will
>certainly do well (I've never been fortunate enough to pull that off,
>maybe this year).

Hopefully I can get some of these before the show


>
>Also since most of your customers will be visiting from a ways a way, I
>suspect you'll be selling mostly smaller prints, The way it's been
>working out for me, I'm selling twice as many 8 x 10 matted pictures
>than 11 x 14's and twice as many 11 x 14's as 16 x 20's, don't know if
>the same number will hold true for you, but given the situation, I
>suspect it might.

I will have a lot of cards, probably roughly the same number of
matted 8x10 and 11x14, some selected 16x20, plus some framed
panoramas (8x38).


> As a visitor there myself, I think maybe some of the
>old missions and tourist spots might do well as well. For example the
>old mission there in San Antonio New Mexico you pass as you go to the
>refuge and maybe even good shots of the Owl Diner. Anything a visitor
>will associate with the place should do well.

The theme for the show is wildlife. They will bend the rules a litlte
bit to allow me to show some landscapes (I have some of the refuge
area, particularly from the Chupederas,west of the interstate), but
they probably will balk at buildings.



>__________
>________________________________________________________________________
>
>Message: 5
> Date: Fri, 26 Sep 2003 15:09:06 -0000
> From: "Kathy Bauer"
>Subject: Re: Accepted in my first show
>
>Congratulations! A couple things to remember:
> Don't forget to have an open address book and pens so that you can
>begin collecting names for your mailing list. After the show, enter
>those names into your database so you can send cards: thanks for
>visiting my booth, come see me at my next show, here's a new
>image...etc.
> Make sure you have a giveaway card or image with all your contact
>information. This can be a business card with a great photo or a
>larger postcard-sized print.
> Smile, stand, and engage visitors in what their response is to
>your images. Tell stories! Have fun!


thanks for the suggestions.

Steve

--
---***********************************---
Steven Ralser (505) 835 6439
Department of Earth and Environmental Science (505) 835 6436 fax
New Mexico Tech ralser@nmt.edu
Socorro, NM, 87801 http://www.ees.nmt.edu/faculty/ralser.html
---***********************************

Great! I hope to be shooting at Bosque this fall, perhaps during the
festival and if I make it, I'll look you up at the show.

Given that the tourists are there to see the Geese and Cranes, you
certainly need shots of them and I suspect they will be your best
sellers. One of my best sellers even down here in Louisiana is a Snow
Goose in flight head on taken at Bosque two years ago, so there are
certainly killer shots there. Blast off shots taken at slow shutter
speed from there work for me as well and if you have managed to get
some of the shots where the mist in the ponds turns red, those will
certainly do well (I've never been fortunate enough to pull that off,
maybe this year).

Also since most of your customers will be visiting from a ways a way, I
suspect you'll be selling mostly smaller prints, The way it's been
working out for me, I'm selling twice as many 8 x 10 matted pictures
than 11 x 14's and twice as many 11 x 14's as 16 x 20's, don't know if
the same number will hold true for you, but given the situation, I
suspect it might. As a visitor there myself, I think maybe some of the
old missions and tourist spots might do well as well. For example the
old mission there in San Antonio New Mexico you pass as you go to the
refuge and maybe even good shots of the Owl Diner. Anything a visitor
will associate with the place should do well.

Good luck and good shooting

Charlie

Charles Bush Photography
email: bushfoto@bellsouth.net
phone: (985) 223-4708
web: http://charlesbushphoto.com


On Thursday, September 25, 2003, at 03:39 PM, ralser1 wrote:

> I've just been accepted in my first juried show - Art Show tent at
> the Festival of the Cranes. Maybe it helped that I am a local-but
> who knows. Now I have to work out what to I need to do to be
> successful. I'm able to borrow 3 8'x4' panels (for a 10x10 space)
> so that is good. I've been reading for awhile and learnt a lot -so
> thanks. I was in a one day festival a month ago and was very
> successful there - so I have some ideas of what will sell. I will
> have lots of notecards. As I know have a 2200 I will have matted
> prints up to 16x20" - but the big problem, that I presume
> everyone faces, is how many of each image to print and what
> size. I've been selling cards for nearly a year now, and have a
> good idea of which ones sell - so I can use that as a guide.
> Fortunately as a local I will be able to come home each night and
> print some more stuff up.
> Oh and I need to persuade my wife to let me buy a digital rebel
> (or 10D) so I can get more images beefore the festival.
> Well I'll stop rambling now and I'll keep my eyes open for advice.
>
> thanks
>
> Steve

Congratulations! A couple things to remember:
Don't forget to have an open address book and pens so that you can
begin collecting names for your mailing list. After the show, enter
those names into your database so you can send cards: thanks for
visiting my booth, come see me at my next show, here's a new
image...etc.
Make sure you have a giveaway card or image with all your contact
information. This can be a business card with a great photo or a
larger postcard-sized print.
Smile, stand, and engage visitors in what their response is to
your images. Tell stories! Have fun!


In a message dated 9/26/2003 1:20:19 PM Eastern Standard Time,
PhotoRoy6@aol.com writes:

> It is basicly impossible to predict what will sell at a particular show.

I can understand that. How much stock do you take with you? Are they art
shows are are they arts and crafts? I have submitted work to a gallery but I've

never done an actual show before. People I know are nagging me to but I
never have. I have some photos that we turned into key chains, and some are
greeting cards and then rest I would have matted or framed. What does everyone
use
for displays? I was considering a few lattice panels would do well for the
framed things to hang from. Is that too unprofessional? Any and all
suggestions are welcome,
Take care,
Sharon

Art and Photo Shows

Contents
[ Contents ] [Articles ] [ Members ] Resources ]


Articles - including: Selling Photography at Art Shows
The Ann Arbor Mystique
Observing the Jury Process
What Size The Edition?


Why Photographers Should be Allowed to Sell Digitally Printed Photographs at Art Shows In response to Coconut Groves 2004 application requirement requiring photographers to apply in the digital category if they make ink jet photographic prints. Additionally there's a page of responses from some of the top art shows.


Photography Web Sites That Larry and Chris have built
Everyone doing art shows needs a web presence


Member Profiles List of members with their own personal web page
Submit your information for your personal web page


Printing Poll Find out how many photographers actually print their own - and what their printing methods are
Fill out our anonymous poll and participate


Downloads for Artists and Photographers Forms and Signs for your Booth


50 Fast Digital Camera Techniques A new book by Larry and Chris and Greg Georges


Links and Resources

Visit our Sponsors

Forum Guidelines



Join the forum and participate
A project from BermanGraphics
Web Design for Artists and Photographers
Web Site content © Larry Berman, Chris Maher or the originating artists

Chris Maher
PO Box 5 Lambertville, MI 48144
734-856-8882 800-238-2597
Larry Berman
PO Box 265 Russellton, PA 15076
412-767-8644 800-350-9289


Hi Dan,

I would definitely go with the 4-ply mat board. The 2-ply looks cheap.

Since you are using dye inks that fade fairly rapidly anyway, I'm not sure I
would bother with the conservation mat board or with a non-buffered board.
Just use what makes your prints look best. Same with the glass. But
perhaps the UV glass would slow down the fading, maybe not, I'm not sure
about this. I probably wouldn't bother. I use pigment inks that last a very
long time and thus use non-buffered 4-ply 100% rag board and UV blocking
glass and hinge mounting. This definitely adds to the cost. Many of the
people who buy my work appreciate all this, many could care less. Good luck,

Tom Andrews
http://www.wildlandart.com


> Ok everyone, I'm going crazy here! I have a show in 4 weeks I need to
> prepare some framed prints for. But, I have never done this before for
> anything for sale...only to hang in my own house.
>
> There are so many choices!! I'm trying to keep my expenses low, but I
> want it to be a quality product. I'm hanging color Epson 1280 prints on
> ColorLife paper, in wood frames. Here are my questions:
>
> 1) I know I want to use conservation mat board, but should I get 2-ply
> or 4-ply? I like the 4-ply so much better myself, but the 2-ply is half
> the money. I'm pretty sure I want to go with 4-ply, but I wanted to see
> what your opinions were.
>
> 2) what about buffered vs non-buffered mat board? I personally don't
> know the difference, other than Light Impressions recommends
> non-buffered for color prints...but again, higher cost.
>
> 3) should I use UV coated glass, or regular? If I'm using all
> conservation inside, would the glass make a difference?
>
> 4) I know there are those that would NEVER sell a 1280 print, or any
> inkjet print for that matter, but I'm not selling for a very high
> price here, and not attracting high-end clientelle to this show (mostly
> middle-aged to elderly ladies). I think a 1280 print on ColorLife paper
> would work fine, but what's your opinion?
>
> I don't have a problem with more expensive stuff, I just don't want to
> put more money in each piece than I should because of my ignorance with
> the whole process.
>
> Thanks much for any advice you all might have for me.
>
> Dan

In a message dated 9/23/03 10:28:50 PM Eastern Daylight Time,
dshallenberger@cinci.rr.com writes:

<< I think a 1280 print on ColorLife paper
would work fine, but what's your opinion?
>>
Colorlife (pebble finish) has a 25 year test life according to Wilhelm so it
is aok for using as long as you don't do outside festival shows where the
water soluable paper may drip.
Iford does have Classic Glossy paper which is a full gloss paper and has a
similiar light life..

So, if ColorLife is a reasonable choice, even though I'm using dye based
ink, could I assume that I wouldn't need the additional protection of
conservation coated glass?

The Wilhelm tests showed 25 years, displayed properly behind glass, but
didn't say coated glass, just glass.

Thanks for the response Tom and PhotoRoy!

Dan



> From: PhotoRoy6@aol.com
> Reply-To: artshow_photo@yahoogroups.com
> Date: Wed, 24 Sep 2003 15:19:52 -0400 (EDT)
> To: artshow_photo@yahoogroups.com
> Subject: Re: [artshow_photo] Hanging prints in a show
>
> In a message dated 9/23/03 10:28:50 PM Eastern Daylight Time,
> dshallenberger@cinci.rr.com writes:
>
> << I think a 1280 print on ColorLife paper
> would work fine, but what's your opinion?
>>>
> Colorlife (pebble finish) has a 25 year test life according to Wilhelm so
it
> is aok for using as long as you don't do outside festival shows where the
> water soluable paper may drip.
> Iford does have Classic Glossy paper which is a full gloss paper and has
a
> similiar light life..


Colorlife paper was created to prevent the cyan dye from being bleached out

by ozone- the orange effect of 1270 type dyes on PGPP so for short term use in

a non humid atmosphere one doesn't need glass unless the viewer has moist
fingers. Wilhelm test for Colorlife originally I believe was behind regular
glass
so to get the 25 years light fastness all you would need is regular glass.

n a message dated 9/24/03 4:50:22 PM Eastern Daylight Time,
dshallenberger@cinci.rr.com writes:

<< So, if ColorLife is a reasonable choice, even though I'm using dye
based
ink, could I assume that I wouldn't need the additional protection of
conservation coated glass?

The Wilhelm tests showed 25 years, displayed properly behind glass, but
didn't say coated glass, just glass.

Thanks for the response Tom and PhotoRoy!

Dan >>

Pricing Photos and Art

I never change my prices from show to show. I might experiment to arrive at

a formula that works overall, but not specific to location. Consider that
high traffic shows like Ann Arbor can generate a lot more money if you sell
at a lower price point than the competition.

Larry



>Does anyone alter their
>print prices depending upon the show location?Would you be more
>likely to be able to get higher prices at a show in Ann Arbor
>compared to Cincinnati?


******************************

Thank you, Charlie.
Sincerely,
Carrie

http://www.creativegalleries.com

Carrie,

To the cost of an unframed piece I add double the cost of the frame and
glass. So if the frame costs me $15 and the glass $5, I charge $40 more
for the framed piece. I track the frame and glass costs for every size
print I frame. But then I would prefer not to sell a framed piece and
want to make it worth my while to fool with the framing. I could track
the time it takes to assemble the frame and determine what my time is
worth and charge accordingly, but I suspect it won't be substantially
different then the method above.

Charlie

Charles Bush Photography
email: bushfoto@bellsouth.net
phone: (985) 223-4708
web: http://charlesbushphoto.com

Show Application Process and Booth

Thanks all-now it is starting to make sense.Does anyone alter their
print prices depending upon the show location?Would you be more
likely to be able to get higher prices at a show in Ann Arbor
compared to Cincinnati?
--- In artshow_photo@yahoogroups.com, Larry Berman wrote:
> Some tips that have been given to me.
>
> Take the glass out of the frames.
>
> If you want to show three walls, make the back wall 9 feet wide and
angle
> the side walls out slightly. If you do that within your canopy, you
will
> see all three walls a little more clearly. Also try using a 35mm or
28mm
> lens from closer up.
>
> Crop to the sides of the canopy and do not show anything out of
your booth
> space.
>
> No signs or names at all.
>
> Think less work being more.
>
> No comment on desk and a bin. I've done it both ways.
>
> Larry
>
>
>
>
> >For this year's booth shot, I set everything up in my unfinished
studio....
>
>
> ******************************

Hi Mike,

For this year's booth shot, I set everything up in my unfinished studio
including the track lighting I bought for use in art fairs. I carefully
arranged
my framed photographs on the panel walls and put only the back and a side
panel in the photograph The shot came out OK with the photographs well lit,
but the overall booth interior was too dark and there were too many
reflections from the glass in the frames. This year I photographed my panels
with photographs during an indoor art show I did. Here I had my track
lighting plus a fairly high ambient light from the hall the show was in. No
canopy around the panels for this shot. Larry used to have a booth shot on
his website (may still). I think he mentioned that his current booth shot
shows all three walls. I couldn't figure out how to do this without making the

images on the side panels almost indistinguishable.

I DIDN'T INCLUDE EITHER MY DESK OR MY BINS IN MY BOOTH SHOT. THIS MAY
BE A MISTAKE - ANY THOUGHTS?

I wanted to show a body of my work on two panel walls so you could easily
see the images. I was able to minimize reflections by careful arrangement of
my lights. If I wanted to spend an extra $1000, I could buy DenGlass for all
my frames and eliminate reflections or not use glass at all for the booth shot.

I shot a bunch of rolls of film, bracketing the shot, in order to get enough
slides to send for all of next years applications. Cheers,

Tom


> What I don`t understand about the application process is the slide
> you need to include of your display or craft hut.Are you supposed to
> buy a craft hut then set it up in the garage and take a picture of it?
> Do you need to fill it with framed photographs just as you would set
> up at an art show including display bins then photograph it?
> Mike

I haven't tried it, but I believe Larry said he put a black cloth
behind the canopy so there is no light reflected but to the glass.

When I did mine I had to carefully position the camera and tripod so it
didn't show, I arranged looking into my back patio with the patio in
the shade and the canopy in the sun which worked pretty well, but there
was a white pillar that showed up and a reflection off my glass door
that showed up as well. Fortunately it wasn't too bad.

I suspect the black cloth with the camera positioned behind the cloth
would probably work well.

You could also mount your prints in frames without glass, seems a bit
extreme however.

Charlie

On Thursday, October 2, 2003, at 10:03 AM, Tom Andrews wrote:

> ... I think he mentioned that his current booth shot
> shows all three walls. I couldn't figure out how to do this without
> making the
> images on the side panels almost indistinguishable.
> ...

Some tips that have been given to me.

Take the glass out of the frames.

If you want to show three walls, make the back wall 9 feet wide and angle
the side walls out slightly. If you do that within your canopy, you will
see all three walls a little more clearly. Also try using a 35mm or 28mm
lens from closer up.

Crop to the sides of the canopy and do not show anything out of your booth
space.

No signs or names at all.

Think less work being more.

No comment on desk and a bin. I've done it both ways.

Larry




>For this year's booth shot, I set everything up in my unfinished
studio....


******************************

What I don`t understand about the application process is the slide
you need to include of your display or craft hut.Are you supposed to
buy a craft hut then set it up in the garage and take a picture of it?
Do you need to fill it with framed photographs just as you would set
up at an art show including display bins then photograph it?
Mike

Watermarks and Copyright

I put a large 10-15% copyright (c) shadow in the middle of my Gibs Photo Art and
Gibs Photos, if they can live with it so can I.

Are you fair and truthful. Would you like a link to Adopt-A-Tourist. Helping
tourist around the world. Find us at:
http://www.geocities.com/adoptatourist/ or http://www.geocities.com/gibsphotoart/index.html email us at:ahunter100@juno.com

Hi Robert,

The simple answer is that all you are asking is up to the individual and
how they want to present their work. The only real rule is to be consistent
in your presentation and keep accurate notes on numbering if you choose to
number.

Larry




>I have a number of questions that I have received conflicting responses to

>over the last month. Perhaps our members can clarify:
>
>1. To copyright a photographic piece for sale, which of the following are
OK:
>
> signing the mat below the photo
> using the copyright symbol/year/name on the back of the backboard
> using a sticker on the backboard with the same information.
>2. Is it necessary to print the "CR-year-name" somewhere on the
photo?
>
>3. When numbering photographs (ex: 150 of the same image):
>a) Is the proper format "the number in the series/total number in
series"
>("6/150"), or the reverse ("150/6")?
>b) In such example, is there any perceived difference in value between the

>first, middle, or end of a series? In other words, is "1/150" the
same
>value as "45/150" and "150/150"
>c) Does this numbering apply only to the same image in the same size
>print? Or, can you have 150 prints in each of 4 different image sizes?
>
>4.Technically, if you print 150 images in a limited run of 150, and then
>digitally make a change to the image, is it considered a new image, or
>the same?


******************************


Two issues, don't make the images on the web large enough that they'll
print big enough for people to use them. I recommend 450 pixels per inch
long dimension. The other is that every image you put on the web should
have the copyright added as a text layer in Photoshop or similar program.

We've written an article on how to protect images on the web. The problem
is that you can only protect them from people who really don't want to
steal them. Proper sizing is the best way to do it.

Here's a few things you can do:
http://bermangraphics.com/tips/sizing.htm

Larry






> > I'm working on a website for an artist who is worried that his
pictures
> > will be copied once they're on the web


******************************

Art vs. Stock

"John F. Johnson"

To :

Subject : [artshow_photo] Art vs. Stock

Date : Tue, 7 Oct 2003 12:47:13 -0700

Larry,

How about images of "things" not people, such as customized cars,
for
instance. Does one need releases for property, too?

John F. Johnson
Doublejay Visions
http://www.doublejayvisions.com
-----Original Message-----
From: maclean [mailto:maclean@amerbook.com]
Sent: Saturday, October 04, 2003 6:40 PM
To: artshow_photo@yahoogroups.com
Subject: Re: [artshow_photo] Art vs. Stock


Larry (or anyone)

Has anyone had any experience with Alamy.com for selling digital stock
images? It would seem to be the best of both worlds for stock images ---
they price image licensing depending upon end use (same as stock pic
agencies) but remit a higher percentage of the total sale and you don't have
to send them your transparencies.

I would expect that they also digitally watermark images and use a web
crawler to find any licensing infringements.

David

maclean@amerbook.com

----- Original Message -----
From: Larry Berman
To: artshow_photo@yahoogroups.com
Sent: Saturday, October 04, 2003 1:33 PM
Subject: Re: [artshow_photo] Art vs. Stock


HI Ed,

I've found that the longer I keep my images on the web, the more requests
I
get for stock sales. As for art show material, I try to be more careful of
what I invest in printing as I've found that just because I like it, that
doesn't mean it will sell. But that is a major plus of the Internet. The
cost of putting up images is minimal compared to printing, matting and
framing and having a very limited audience see it and not purchase.

The only thing you have to be aware of is having a recognizable person in
a
photo and not having a signed release. That kills the stock deal.

When I was with The Image Bank, some of my best selling images were the
same that I sold at art shows also. That should answer your questions.
There is no reason why you shouldn't maximize the money you can make from
each image you shoot.

Larry

>How do many of you handle this? Do you keep your stock shots as ONLY
stock?
>Do you also have art prints that you will only use for that purpose? Or
if
>an image is commercially viable. is there nothing wrong with getting as
much
>as you can for it from as many sources as appropriate?


******************************


Larry Berman

To : artshow_photo@yahoogroups.com

Subject : Re: [artshow_photo] Art vs. Stock

Date : Tue, 07 Oct 2003 15:56:54 -0400

Generic things are OK. Identifiable things might be OK. Companies like
Volkswagon have been going after commercial use of their cars for years
now. RC, you there? He can tell you the story of them coming after him for
a photograph he sold at art shows.

Protecting images from being stolen on the web is impossible. There is no
current protection that can track use of an image inexpensively. Digimark's
watermark can be corrupted by resizing. Right click does absolutely nothing
as the image is already on the viewer's computer.

Larry

>How about images of "things" not people, such as customized cars,
for
>instance. Does one need releases for property, too?


******************************

Sean

To : artshow_photo@yahoogroups.com

Subject : Re: [artshow_photo] Art vs. Stock

Date : Tue, 07 Oct 2003 13:15:51 -0700

True, but I bet most poeple don't know how to find the image on their
computers.

Sean



Larry Berman wrote:

> Right click does absolutely nothing
> as the image is already on the viewer's computer.
>

Fine Art Black & White Photography
http://www.sbphoto.net


hjswim2@aol.com

To : artshow_photo@yahoogroups.com

Subject : [artshow_photo] Re: Art vs. Stock

Date : Wed, 8 Oct 2003 11:42:31 EDT

Larry: <... Protecting images from being stolen on the web is
impossible.
There is no current protection that can track use of an image inexpensively.
Digimark's watermark can be corrupted by resizing. Right click does absolutely

nothing as the image is already on the viewer's computer.>

Sean:
computers.>

Any image you can see on the monitor can be grabbed. That bypasses all the
intricate codes and tricks. I bet most people know how to do a screen capture.


If it's visible, it can be taken. Work with that in mind.

Harald Johnson
author, "Mastering Digital Printing"
DP&I.com ( http://www.dpandi.com )


PhotoRoy6@aol.com Save to Address Book

To : artshow_photo@yahoogroups.com

Subject : Re: [artshow_photo] Art vs. Stock

Date : Thu, 9 Oct 2003 10:27:13 EDT

In a message dated 10/7/03 4:04:10 PM Eastern Daylight Time,
larry@bermanart.com writes:

> Companies like
> Volkswagon have been going after commercial use of their cars for years
> now

What do you mean (or perhaps I should say what does Volkwagon mean)by
commercial use of their cars?


Larry Berman

To : artshow_photo@yahoogroups.com

Subject : Re: [artshow_photo] Art vs. Stock

Date : Thu, 09 Oct 2003 10:32:06 -0400

Images of their cars or logos in any identifying manner in any art form
without licensing permission. RC had an experience with a company
Volkswagon hired to chase down use of their trademarked logo.

It may be an anomaly, but it happened to someone we know.

Larry


> > Companies like
> > Volkswagon have been going after commercial use of their cars for
years
> > now
>
>What do you mean (or perhaps I should say what does Volkwagon mean)by
>commercial use of their cars?


******************************

Larry (or anyone)

Has anyone had any experience with Alamy.com for selling digital stock images?
It would seem to be the best of both worlds for stock images --- they price
image licensing depending upon end use (same as stock pic agencies) but remit a
higher percentage of the total sale and you don't have to send them your
transparencies.

I would expect that they also digitally watermark images and use a web crawler
to find any licensing infringements.

David


I am an aspiring artist doing some amateur stock photography. looking to
go
a little more professional. I have a situation that seems a little unique,
but I'm sure it's something that some of you have probably come across a
number of times.

I tend to shoot my hobby. Bicycling. I got some pics this summer that I
thought would make some nice prints. So I'm looking to sell them as fine art
prints on my site and local retail (and perhaps having someone attending art
shows.)

Now, my question is, I've refrained from using these as stock images. as I
didn't want anyone to be able to get a hold of a "digital negative" of
these
images. But I'm wondering... am I being overly paranoid? Shouldn't I just be
thinking that when someone is buying an art print from me. they are buying
more then the sum of it's parts. they are buying the printing knowledge and
expertise. instead of just an image?


How do many of you handle this? Do you keep your stock shots as ONLY stock?
Do you also have art prints that you will only use for that purpose? Or if
an image is commercially viable. is there nothing wrong with getting as much
as you can for it from as many sources as appropriate?

Just curious.

Ed


HI Ed,

I've found that the longer I keep my images on the web, the more requests I
get for stock sales. As for art show material, I try to be more careful of
what I invest in printing as I've found that just because I like it, that
doesn't mean it will sell. But that is a major plus of the Internet. The
cost of putting up images is minimal compared to printing, matting and
framing and having a very limited audience see it and not purchase.

The only thing you have to be aware of is having a recognizable person in a
photo and not having a signed release. That kills the stock deal.

When I was with The Image Bank, some of my best selling images were the
same that I sold at art shows also. That should answer your questions.
There is no reason why you shouldn't maximize the money you can make from
each image you shoot.

Larry



>How do many of you handle this? Do you keep your stock shots as ONLY
stock?
>Do you also have art prints that you will only use for that purpose? Or if
>an image is commercially viable. is there nothing wrong with getting as
much
>as you can for it from as many sources as appropriate?


******************************

Re: [artshow_photo] Inventory tracking

Inventory Tracking

"Brian Maguire"

To : artshow_photo@yahoogroups.com

Subject : [artshow_photo] Inventory tracking

Date : Tue, 07 Oct 2003 20:51:08 -0000

I'm pretty new to this group and I have a question that is so
fundamental that I am a bit embarrased to ask it. However...

How do you all track your photo inventories? You have this mass of
photos you have taken. Some you want to keep just for reference,
some you want to work on, some are ready to go, some are on
your 'front list' - the ones you are currently bringing to shows,
some are 'back list' - still available on request, I guess, but you
are not lugging them to every show. Within each category are
subcategories -- the front list items you lead with vs. the rest,
for example.

Now that's sorting by what I guess you'd call marketing status. You
can also sort by topic, by size, heck, I guess even by colors -- I
did have someone come into a booth once and ask what I had in
pastels.

I am probably posing this question no more coherently than I am
organizing my computer files and prints, but I would just like to
ask whether anyone wants to share some organizational tips. I guess
I realized I had NO real handle on this when I started to look at
the shows I want to do next year and realized that I should be
bringing different types of images to different shows and I just
don't know how to keep it all sorted.

Need I say I am rather new at all this? I've been doing shows for
just over a year now, and it looks like I'm settling in at a pace of
about 20 shows a year, so organization is an important issue.

Thanks for any help,
Brian


Larry Berman

To : artshow_photo@yahoogroups.com

Subject : Re: [artshow_photo] Inventory tracking

Date : Tue, 07 Oct 2003 17:27:19 -0400

I don't know about other people but I put together a body of work that I
introduce when it's time for new work. That may be between five and about a
dozen images. The masters are digital files on my hard drive and backed up
to CD. I only print what I feel is needed on a show by show basis. Digital
is wonderful for keeping inventory and print costs down. Before I used to
print 10 or 25 of an image to get the best prices. Now I can print one and
get the best price.

But you should see the old inventory of matted (and maybe framed) prints
from years ago in my garage. Everyone that changes styles has the same
problem. The longer that you're in this business, the more unsold prints
floating around. That's why print on demand inventory control is so important.

I have 8x10 and 16x20 print boxes stacked on shelves with older prints that
go into my unframed bins. My currently sold work is matted and/or framed as
I print them. I also write every sale down as to the style (image) number
and size and keep track of when I need to print something. I may misjudge
from time to time, but I always have a full display with backup so being
out of a particular image for one show won't hurt.

And I always set up using about 90% of the same images so it's really not
too difficult to keep track. And if someone asked for something I didn't
have hanging, either I'd go through my bins or point them to the web site.

Larry



>I'm pretty new to this group and I have a question that is so
>fundamental that I am a bit embarrased to ask it. However...
>
>How do you all track your photo inventories? You have this mass of
>photos you have taken. Some you want to keep just for reference,
>some you want to work on, some are ready to go, some are on
>your 'front list' - the ones you are currently bringing to shows,
>some are 'back list' - still available on request, I guess, but you
>are not lugging them to every show. Within each category are
>subcategories -- the front list items you lead with vs. the rest,
>for example.
>
>Now that's sorting by what I guess you'd call marketing status. You
>can also sort by topic, by size, heck, I guess even by colors -- I
>did have someone come into a booth once and ask what I had in
>pastels.


******************************


Brian Watson

To :

Subject : Re: [artshow_photo] Re: Inventory tracking

Date : Wed, 08 Oct 2003 09:20:05 -0700


Thanks for the excellent information, but I was wondering what it is you
do
during this phase, below. Remove the ones you sold?

I am already using Excel as a means to insure I have one of every photo in
each size, so this seems a logical next step.

On 10/8/03 8:38 AM, "Tom Andrews"
wrote:

> I then spend about 20 minutes after the
> show to work up a new spreadsheet for the next show.

Re: [artshow_photo] Inventory tracking

Inventory Tracking

"Tom Andrews"

To : artshow_photo@yahoogroups.com

Subject : [artshow_photo] Re: Inventory tracking


Date : Wed, 08 Oct 2003 17:16:00 -0000

Yes, I just do some erasing and annotating and carry this forward to the
next
show if I didn't make very many sales. If it was a great show, then I make a
whole new sheet and copy the updated check marks (new inventory = old
inventory-sales) forward.

Tom

> Thanks for the excellent information, but I was wondering what it is you
do
> during this phase, below. Remove the ones you sold?
>
> I am already using Excel as a means to insure I have one of every photo
in
> each size, so this seems a logical next step.
>
> On 10/8/03 8:38 AM, "Tom Andrews" wrote:
>
> > I then spend about 20 minutes after the
> > show to work up a new spreadsheet for the next show.



Years ago (about 10) I had a line of photographs that sold extremely
well (http://BermanBears.com). Basically the only size I sold was 5x7
matted 8x10 but hung larger 22x28's to draw the public in. I kept
track of inventory by using three foot long wooden boxes with
numbered seperators for each different image. At a glance I could
tell
which images were running low. I kept a second set of boxes in the
van
with back up for the better shows. Though I write down every sale,
I've never really found the need to micro manage. If needed I made
notes about what needs to be printed for the next show. But actually
I'm more worried about selling out of the frames my wife paints. We
only do four colors and two can be really popular.

Larry

http://BermanGraphics.com


Thanks, Tom. that is very useful. I have been gradually developing
an Excel inventory spreadsheet, but yours sounds much simpler and
more manageable than anything I have tried.
Brian

--- In artshow_photo@yahoogroups.com, "Tom Andrews"

wrote:
> Hi Brian,
>
> I developed an Excel spreadsheet for my inventory. I print out a
new one for
> each art fair. The first column is a list of all my images that
I take to art fairs.
> Then I have three groupings of columns for my three sizes of
prints. Within
> each grouping I have six columns: print, mat, bin, bin sold,
framed, and
> framed sold. I put a vertical pencil line in the print column
every time I print
> an image of a certain size, then a line in the mat column when I
mat it. The
> bin column keeps track of all my bin work and the framed column
keeps track
> of my framed work. I record the sold items as the show
progresses. This
> way I always know what I have. I then spend about 20 minutes
after the
> show to work up a new spreadsheet for the next show. It works
well for me
> when I keep up. Occasionally I have gotten confused and had to go
back and
> count all my printed work and bin work. There isn't enought
framed work to
> get confused. It is all in labeled boxes. I like spreadsheets, so
I also have
> one for all sales at each art fair listing price, taxes,
discounts, totals, etc for
> each image in each size, bin or framed. I can then easily total
up the columns
> using Excel and know what I owe for taxes, profit, etc. I have
another one
> that keeps track of my edition numbers for each image. And one
that is a
> large running tally for all my images sold by size and bin vs
framed at each art
> fair and amount made. This allows me to compare shows, compare
sales of
> different images, sizes, etc. There are is no doubt much more
sophisticated
> software for doing this. I got very good at Excel so find it
convenient. I have
> finally gotten to the point where I am doing enough art fairs,
selling enough,
> and getting orders to fill, that I had to do something or go
crazy.
>
> Tom Andrews

Hi Brian,

I developed an Excel spreadsheet for my inventory. I print out a new one for
each art fair. The first column is a list of all my images that I take to art
fairs.
Then I have three groupings of columns for my three sizes of prints. Within
each grouping I have six columns: print, mat, bin, bin sold, framed, and
framed sold. I put a vertical pencil line in the print column every time I
print
an image of a certain size, then a line in the mat column when I mat it. The
bin column keeps track of all my bin work and the framed column keeps track
of my framed work. I record the sold items as the show progresses. This
way I always know what I have. I then spend about 20 minutes after the
show to work up a new spreadsheet for the next show. It works well for me
when I keep up. Occasionally I have gotten confused and had to go back and
count all my printed work and bin work. There isn't enought framed work to
get confused. It is all in labeled boxes. I like spreadsheets, so I also have

one for all sales at each art fair listing price, taxes, discounts, totals, etc
for
each image in each size, bin or framed. I can then easily total up the columns

using Excel and know what I owe for taxes, profit, etc. I have another one
that keeps track of my edition numbers for each image. And one that is a
large running tally for all my images sold by size and bin vs framed at each art

fair and amount made. This allows me to compare shows, compare sales of
different images, sizes, etc. There are is no doubt much more sophisticated
software for doing this. I got very good at Excel so find it convenient. I
have
finally gotten to the point where I am doing enough art fairs, selling enough,

and getting orders to fill, that I had to do something or go crazy.

Tom Andrews
http://www.wildlandart.com


> I'm pretty new to this group and I have a question that is so
> fundamental that I am a bit embarrased to ask it. However...
>
> How do you all track your photo inventories? You have this mass of
> photos you have taken. Some you want to keep just for reference,
> some you want to work on, some are ready to go, some are on
> your 'front list' - the ones you are currently bringing to shows,
> some are 'back list' - still available on request, I guess, but you
> are not lugging them to every show. Within each category are
> subcategories -- the front list items you lead with vs. the rest,
> for example.
>
> Now that's sorting by what I guess you'd call marketing status. You
> can also sort by topic, by size, heck, I guess even by colors -- I
> did have someone come into a booth once and ask what I had in
> pastels.
>
> I am probably posing this question no more coherently than I am
> organizing my computer files and prints, but I would just like to
> ask whether anyone wants to share some organizational tips. I guess
> I realized I had NO real handle on this when I started to look at
> the shows I want to do next year and realized that I should be
> bringing different types of images to different shows and I just
> don't know how to keep it all sorted.
>
> Need I say I am rather new at all this? I've been doing shows for
> just over a year now, and it looks like I'm settling in at a pace of
> about 20 shows a year, so organization is an important issue.
>
> Thanks for any help,
> Brian



Date : Wed, 08 Oct 2003 11:35:05 -0400

Hi Brian,

Yes I may only have about a dozen (maybe closer to 15 to 18) and most in
two sizes if I'm hanging the photographs in the painted frames. Everything
else is in my bins. If I'm hanging my other style work, there is only one
size of each hanging, two pictures per panel except where I have a bin.
Then only one picture over the bin.

But think in terms of only hanging one (or two) style of work.

Larry



>Larry, I don't understand what you mean here. Are you saying you only have
a
>dozen images in the booth? Or do you add the dozen images (in each matted
>size, I assume, to an existing number (fifty? one hundred?)?


******************************