WHEN YOU PURCHASE FINE ART PHOTOGRAPHY
YOU'RE INVESTING IN YOUR FUTURE.
In 1973 I had could have purchased an original print of
Ansel Adam's Moonrise Over Hernandez Mexico for $350.00.
However, I was married, in college, was just starting out as a
photographer and that was a lot of money back then. In 2006 this
work sold for $609,600.00! Of course it also sold for lesser amounts
as well, during its run up to this all time record. The hopefully
obvious point I'm making here is that.....just like painting, drawings
and sculpture, etc., well executed fine art photography has value
that will increase in time. Therefore, it can make for a good, long term
investment that can be passed down generation after generation or
even sold during times of financial need for much more than its
original value, making it a good addition to one's portfolio.
In addition, what other medium of investment, other than
other works of art and maybe classic cars, can bring the
added pleasure of getting to view one's favorite pieces
of art over and over again while they gain in value.
However, this means that these works need to be produced
and preserved with archival methods, in order to retain their
pictorial properties and quality. Therefore, I have chosen to
offer my black & white work on silver-gelatin based, photographic
papers only that retain the traditional archival properties of the
medium. (Meaning that these prints will last for centuries, just like
film based prints do.) However since that is not an option for color
printing, color images will be printed with and on the highest quality, archival, digital printing processes and papers available
that retain similar archival keeping properties of silver-gelatin
prints. This assures the collector that the value of this work
will not only be retained in a collector's lifetime, but as this
art is passed down, the potential of the art increasing
in value as the generations pass is also maintained.
Furthermore, in order to retain their value, fine art
prints must be preserved and protected in the archival
tradition as well. This means they must be mounted, matted
and framed with arcid-free mounting materials, matting,
glazing (the glass or Plexiglas) and framing too, so the prints
don't become stained over time and so that they don't touch
the glazing either, as that could actually affect the emulsion.
Therefore, my prints are matted on archival, acid free, 3/16",
cotton rag, museum board with either a white or black core.
(The core is the inside edge of the mat, after a 45 degree cut is
made. It functions as a secondary border and is typically 1/8"
of an inch wide.) My framing is usually 3/4" in width, in a
simple black, wood museum style frame...the same as
it would be shown with in a gallery or museum.
Along these same lines, my work will not be available
on trendy, flavor- of-the-month type mediums such
as canvas, metal or bamboo, etc., nor will it be
available on t-shirts, coffee cups, phone covers or
frisbees, etc. It will, however, be available in the future
as collectible note and greeting cards that exhibit a
similar level of quality that my prints possess.
Please contact me personally to
discuss print sizes and pricing: