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George makes an interesting suggestion about the possibility of issuing an image on a CD so that when the originally supplied print fades the owner can use the CD to make a new one. However, this sounds to me like a dangerous practice for the artist/photographer, and anyway, latest word is that CD's won't last more than ten years, though Kodak claims over 100 years for its CD's. Can one equate using bits and bytes to produce a print through an Epson 3000, or whatever, with what a photographer, for example, produces individually and 'hands-on' in the darkroom? It seems to me that here we have two quite different products that are not interchangeable, that can't be priced in the same way, and that will have different markets. Sure, the machine-made print can be an object of beauty but it relates more to the printing press than to a hand-made object. You can produce a limited run of prints through your Epson, of course. Talking about the longevity of prints, the current British Journal of Photography has a supplement reviewing printers and archival Lysonic inks. I haven't seen this article, but apparentley the Lysonic inks are nowhere as archival as is claimed. Brian Seed Publisher, Stock Photo Report Stock Photography Consultant 7432 Lamon Ave., Skokie, IL 60077, USA Phone:847-677-7887 -----Original Message----- From: George Lottermoser <firstname.lastname@example.org> To: email@example.com <firstname.lastname@example.org> Date: Wednesday, July 14, 1999 10:13 AM Subject: Re: And none of those epson prints... >email@example.com (J. Arthur Davis)7/14/999:19 AM > >> I guess the same thing happened when the first offset printer proposed >> printing artwork using printing presses. We all have seen where that >> industry took off to. > >If we plan to have a discussion regarding "Prints" and "Galleries" we must consider the Fine Art >Print tradition. >Four color, Offset, cmyk printing has never found its way into Fine Art Galleries. And rightfully >so. Editions of a 1,000 or 10,000 on commercial papers with commercial inks have very little chance >of holding whatever beauty they may have more than some months in a bright room. > >Fine Art Galleries are looking for rare objects of great beauty with extraordinary longevity to >entice collectors. > >The print tradition for Fine Art Galleries, Museums and amoung collectors requires: > >Limited edition (usually well under 500) > >Numbered as "artist's proof" or 1/100 through 100/100 meaning 1 of a total of 100 through 100 of a >total of 100.This ensures the gallery and collector that no more than a 100 prints will ever exist > >Pulled by the artist (or under her/his very close supervision at a recognized printing studio) > >Signed by the artist (attesting to the quality of each and every print) > >Our Ink Jet (Epson) Printers and Digital Files theoretically allow unlimited numbers of prints to be >made, thereby eroding the rarity of the collectible object. We all know that the time required >limits the edition number. And when using fine papers and ever improving ink sets, we have already >reached archival levels of many one-of-kind water colors. But we still have to prove the value of >the imagery and the media to traditionalists. > >An interesting possibility for serious, digital, fine art, makers and collectors would give a CD >with high res tiff or eps with every print. If the print fades the owner of the print can receive >permission to reprint with the stipulation that the original (faded) print be destroyed by the >re-printer. Of course the collector would lose the artist's signature. > > >George Lottermoser - imagist - Lotter Moser & Associates - firstname.lastname@example.org - >414 241 9375 voice - 414 241 9398 fax - 10050 N Port Washington Rd - Mequon, WI 53092 > > >- >Please: Stay on topic. Trim quoted messages. >http://www.leben.com/lists for list instructions. > - Please: Stay on topic. Trim quoted messages. http://www.leben.com/lists for list instructions.
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