In this economy, you’re probably not alone. There is a natural tendency to want to reduce fees in order to accommodate tight budgets. The truth is however, that when you dramatically reduce your rate (below 10-20%) you are diminishing your brand. You are teaching clients ‘bad tricks’ that they will use in future negotiations with you and setting yourself up for failure.

Pricing is always a tricky proposition. Customer psychology and market knowledge must be in balance in order for your pricing to work for you, instead of against you. Contrary to what you may believe, the lowest price is not always the most attractive to customers.

Some years ago, I owned a health newsletter company built solely on direct-mail marketing. We typically mailed 350,000 pieces each month. The postage cost then was nothing compared to what it is today, but nevertheless, when you’re dropping that many pieces every penny counts. Price was something we tested…and tested… and tested again, before we got it right. The experience taught me a lot about perceived value and pricing. I always assumed that if we lowered the price we would generate more response, after all…cheaper is better, right? What I learned was just the opposite. More times than not, the higher price lifted the response rate…and did so by a substantial percentage. I know you’re thinking this is crazy, but any marketer can tell you there are subtle nuances to getting the price right. And, perceived value is oftentimes greater with a higher price.

Another example of my pricing education came one day at the gallery we owned. I watched the behavior of a top-end collector as he perused the gallery for something interesting to add to his collection. He was drawn to a piece from one of our best abstract artists priced around $2500. He remarked, “his work is really exceptional, but I don’t collect anything under $5,000.” I was floored with the notion that even if the work was great, he wouldn’t own it because it didn’t have a price tag that matched his idea of higher perceived value.

Price strategy is multi-faceted and even the number itself can elicit an emotional trigger telling the buyer that something is priced either too low, just right, or too high. Obviously, we all want to be in the middle range to capture market share and grow our businesses.

Economists would probably argue with me that price has to do with supply and demand. It does. However, it also has to do with the psychological balance of price and worth in the mind of the consumer. In today’s economic environment, it’s popular to be frugal. No one wants to be perceived by friends and family as overpaying for something. It’s a balancing act of getting the right price point to yield the greatest customer response.

Let’s take a look at a few examples of pricing strategy to illustrate my point about the exact number being keyed to an emotional customer response.

Odd Number Pricing Example

A photographer prices his wedding package for $4,783 rather than $5,000. Which price resonates better with you? Does the first number appear to be more carefully calculated and leave you with the impression that there is little room for negotiation? Does the $5,000 seem a lot higher to you than the $4,873, when it’s actually only $127 less? This is an example of odd number pricing with a twist of uncommon numbers adding to the perception of finely calculated pricing.

Some numbers just sound better to buyers than others, even though they are very close. It’s no coincidence that numbers ending with a 5, 7, 8, or 9 are more frequently used in pricing strategies than numbers that end with a 0 or 1. People rationalize that the price is under a whole number and thus they are spending less, i.e. $999 is less than $1,000 or $49.95 is interpreted as less than $50.

Bundling Pricing Example

A photographer packages portraits by the number of poses. A six pose package includes one 16×20, a 11×14, four 8x10s, 64 wallets, etc. for $599.95 (showing a value of $742). This is a good example of bundling and odd number price strategy. Additionally, showing the value next to the package price further illustrates to the customer that they are receiving an exceptional deal.

Unbundling Pricing Example

A documentary photographer seeking funding for his next trip to highlight the affects of global warming, “for only $3 per day you can help bring awareness to the problem,” rather than $1,095 per year. When you hear the unbundled offer of only $3 per day, it certainly sounds more affordable than a lump sum contribution of $1,095. This is an example of unbundling to increase the perception of customer value.

Prestige Pricing Example

A world-renown photographer with numerous heads of state and celebrity portraits in his portfolio charges $25,000 for a 3-hour portrait session. This is an example of prestige pricing. You often see prestige pricing in luxury hotels, exclusive clubs and resorts. The pricing is intentionally above market, due to client demand and exclusivity. In this case, the photographer’s reputation is so unique and distinctive that he holds a prestige value in the minds of the consumer.

As you can see, pricing is as much an art as it is a science. Once you arrive at the ‘sweet spot’ for pricing your products and services, tweak in small increments, bundle creatively, and continuously promote your unique value. Working price to your advantage will ensure your brand stays intact…and, your bottom line for that matter.

Scott Adams

I was listening as Dave was editing one of his live shows the other evening and heard a question come up about how to define creativity. Creativity has always been something hard to nail down in my opinion. It’s subjective and too often a personal perspective, yet it is the key measurement by which all work is judged.

I’ve struggled with the concept of creativity and how to describe it for some time. As a fine art gallery owner for a number of years, finding pieces that had the ‘wow factor’ was always a challenge. I needed exceptional pieces in the gallery to keep the high-end collectors interested and the doors open. Selecting work for the gallery was more art than science. I always hated to turn down an artist or photographer because their work wasn’t creative enough. I toiled with how to let them down without hurting their feelings, only to realize that I was doing them a disservice to send them out without trying to explain why their work wasn’t measuring up.

I began watching collectors and studying their behavior in an effort to better define creativity. What I found was that no matter the genre, great work was like a magnetic drawing people in. It didn’t matter whether they collected photography, abstract paintings or bronze sculptures; a collector would glance around the room, spot a piece that ‘spoke to them’ and immediately move to get a closer view.

I remember a conversation I had with an abstract artist friend of ours in the early days of the gallery that influenced my thoughts about creativity more than anything else. I was finding it difficult to select abstract pieces to carry in the gallery. I hate to admit it, but so many of them looked alike to me. I couldn’t pick out a sellable piece to save my life. So I was like a sponge when it came to learning what was collectable and what was not. My friend shared with me that most work is ‘flat and soulless,’ from his perspective. It’s simply ordinary. ‘What you need to look for is something that speaks to you,’ he said.

Well…something that ‘speaks to you’ was hardly the kind of concrete definition I was looking for, so I went to the dictionary. The dictionary states that “creativity – is the ability to transcend traditional ideas, rules, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc.” Well…okay, that’s not exactly clear either. Does that mean that if you break the rules and create new interpretations of known objects that would be considered creative? I could imagine several ideas with a cleverly composed image, but so what? Clever didn’t equal collectable in my mind, so I dismissed this definition as well.

I decided that I would have to define creativity in my own terms and decided to go back to my friend’s interpretation of work that speaks to him. What I concluded was it is an emotional response to great work as opposed to a logical one. There is some emotional trigger that is set off when I look at a great photograph. I noticed the same thing when I observed the collectors. It’s not about capturing a historical moment in time or a beautiful scene. It’s more than that. It is the emotional reaction I have when I can feel the cold of the ice and steel from a winter lighthouse scene, the warmth on my face and the smell of leaves in an autumn scene, or the tears welling up inside when I see the face of the bride and groom looking into each others eyes. I see it in great portraits as well. It’s that split second when the photographer has captured raw emotion…I see it and immediately feel it. It’s the ‘wow factor.’

If you’re like most great photographers I know, you can shoot hundreds of shots to get one with the ‘wow factor.’ You might guess that luck has a great deal to do with it, but I would argue that it’s deeper than that. It’s the ability to see something in your ‘mind’s eye’ so clearly that you know when you’ve captured it.

Every photographer knows a great shot when they see it. Creativity is no mystery, really. It may be hard to describe, but we all know it when we see it. The ‘wow factor’ is the shot that makes the adrenalin flow and the rush to show it to everyone within view. It’s pure excitement. It’s pure art!

There is no faster way to improve your business prospects than to improve your portfolio. Be careful of what you are communicating with your ‘body of work’. If an image doesn’t speak to you, get rid of it. Your portfolio is your reputation and there is simply no greater asset.

Okay, what we are talking about here is the perception of value. Value and worth are not necessarily interchangeable. Value is actually a very emotional response to a product or service. Would I spend more on something unique, than something that I can get everywhere…absolutely! Electricity is a commodity. I really don’t care who sells it, I just want it at the lowest price. Gas for my car is another commodity. From one gas station to the next, they pretty much sell the same thing. Give it to me cheap and I’m a happy camper.

Products and services tend to become commodities in mature markets that are flooded with people selling the same thing. To a consumer, there is little difference between one provider and another. Once a product or service loses it’s uniqueness in the eyes of the consumer, price is the only differentiator.

Peter Drucker got it right when he said, “In a commodity market, you can only be as good as your dumbest competitor.” I’d hate to think that my only business edge is a dumb competitor. Although, I have to admit to thinking that my competitor is an idiot on more than one occasion.

While I don’t think that commoditization is running rampant throughout the photography industry, I do see hints of it creeping into some areas. Take the stock image market for example. Every soccer mom with a digital camera thinks she can shoot stock these days. The tremendous volume of images flooding the market has created a lot of price pressure for the guys who have been making a good living at this for a number of years. When you consider the amount stock agencies are willing to pay for an image and the cost of getting to the location, the equipment, lodging, assistants, etc., you have to wonder whether it is worth it.

Another example is the senior portrait market; look at the price options out there…$50 for a 2-hr session… please. And, let’s not forget wedding photography. Who hasn’t heard of an Uncle Bob story with his newly purchased digital camera? What about lighting, posing, composition? Think Uncle Bob is doing a great job with that? Of course not, but people are drawn to deals…especially when they don’t understand the difference and value of a professional.

What we are seeing is a lower perceived value for what we do for a living. So, how do we stop it? We simply start selling ‘value’ and stop selling ‘price’!

Do you think that Porsche is going to drop the price of their 911 from $70k to $20k because GM or Toyota is cutting prices to get inventory sold? Not likely. What about Starbucks? Are they going to reduce the cost of a caramel latte just because the diner down the street dropped their coffee fifty cents? Not a chance. They are selling ‘value’ not ‘price.’ They know that not everyone can afford them, and that’s okay. They understand their market and they are constantly innovating, bundling and segmenting their product lines to increase the perception of value.

The more valuable something is, the more it is worth. Unlike a commodity with fixed and comparable price points, a ‘value’ transaction is always subject to negotiation. Your perceived value to a customer is directly related to how much you will be able to charge.

Let’s look at our industry for a minute. Do you think that an Uncle Bob wedding is comparable in value to say, a David Ziser wedding? Of course, not…there is no comparison. Do you think that a soccer mom’s video presentation is comparable in value to Philip Bloom’s ? Of course not…there is obviously no comparison. So why, then are customers using these people, thinking that their delivered product is ‘good enough?’ The answer is pretty simple in my mind. We’re downright awful when it comes to communication! We tell people that we bring quality and service to each project and think that is enough to convince them. Do you know any photographer that doesn’t have those exact words on either their website or brochure? Exactly! People have become numb to those words.

Instead, why aren’t we describing the value we bring to a project with the number of years in the business, the highly-recognized clients who have entrusted their business to us, the investment in equipment and training that makes us better at what we do than the next guy, or how about the unique artistic style that is brought to each shot? How we communicate these things to clients in terms of presentation and packaging will determine our ‘value’. And, value in the eyes of the customer will determine price, not the market.

I know what you’re thinking. That ‘dog won’t hunt’ when you’re face to face with a client who is shopping for deals. Okay, you’re right…you will always have to negotiate some deals, and in this market probably more than any of us would like. However, wouldn’t you rather negotiate from a position of strength than weakness? In my mind, strength is value and weakness is price. If all I have to negotiate with is price, than I’m no better than the soccer mom with a new HD-DSLR thinking that I can shoot like Philip Bloom. (I can just hear Dave now, telling me that the soccer mom has a better chance of getting a good shot than I do!) The reality is that when you only consider price you are failing to realize the value you bring to the project. When you lower your price to close a deal, you’re basically saying one of two things. Either you’re saying ‘I don’t believe I’m worth it,’ or ‘I was too high to begin with’. The solution is to leave your price where it is and look for value adds (soft dollars) to sweeten the deal. Or, reduce the amount of time or the scope of the project to meet their budgetary requirements. Both solutions offer negotiating strength without downgrading your ‘value’ in the eyes of the customer.

How you price your work has more to do with the ‘perception of value’ than what most people realize. Each photographer brings something unique to the market in terms of artistic talent, skills and experience. Effectively articulating this uniqueness to customers is the difference between a business strategy that is built on value and one that depends largely on your competitor being dumb, as Peter Drucker would say.

Deborah is a contributing writer for LensFlare35.com. She can be reached on Twitter or via her Website.

You’ve heard it and seen it. The number of followers on Twitter and FaceBook that many photographers have is simply astounding. It always makes me wonder how they manage to find the time. I struggle, like everyone else, with too few hours in the day to accomplish half of what I need to do. So, to say that I’m in awe of their numbers is an understatement.

I do wonder, however, how many of their contacts actually result in increased business for the photographer. I would guess that while their reputation is soaring, the cash register is still a little empty. I know what you’re going to say…it’s the network that will ultimately result in referrals to new clients. But does it? I’m not seeing as much of that as I’m seeing fan clubs that are great for the ego, but do little to help the bottom line. And, in some cases, that is good enough. Many of us post to social media sites for the entertainment and fun associated with staying connected to people we value. If that is the case, then read no further. What I’m talking about is the business use of social media and measuring results.

I know I’m opening up a can of worms when I suggest that if you are going to spend a number of hours doing anything for the purpose of advancing your business…shouldn’t it generate a positive outcome? There is nothing in shorter supply to a small business these days, than time. When your days are spent trying to juggle cash flow, staffing, inventory, taxes and staying ahead of the competition, every hour of time spent must translate into earned income. If not immediately…certainly, within a reasonable amount of time.

So, say you buy off on my suggestion that social media for business should have a positive return on the investment, within a reasonable amount of time. How would you measure it? How would you know that your efforts and time spent communicating is resulting in more business. Just because you are popular, doesn’t mean you are making money!

It’s interesting when I ask photographers who is in their list of followers. They often reply that there are numerous other photographers that follow them and that they are building a list that will be important someday to their business. I like the idea; however, it does make me wonder why they are talking to their potential competitors instead of their customers. Here’s an example; say I’m a wedding photographer and I’m prolific about posting to all the major social media sites. I have a following of 10,000 people – all photographers and emerging photographers who love my work. I have great friends all over the world as a result of social media. Is it likely that any of these photographer friends will send a wedding my way? Or, is it more likely, that they are looking over my work in order to get inspired to create better work for themselves? Just a question…

It seems as if this social media craze has placed the ‘cart before the horse’ when it comes to marketing. Many have built huge followings without a product or service to sell to them, believing that someday the right thing will come to mind that will be perfect for these new found friends. Instead of using the medium to learn more about their current customers and potential customers, they have a love fest going on with many people… just not people who can bring anything to their immediate bottom line.

Okay, I can hear you now… it’s always about the almighty dollar with me isn’t it? Not always, I promise. But when it comes to maintaining and growing a business, the bottom line is cash.

It seems as if social marketing, for many of us, has occurred simply by happenstance rather than a well-thought-out plan to better connect with customers and potential customers. We often follow people who follow us, right? It has become a list of family, friends, competitors, and people trying to sell you something without making it appear they are selling anything – bloggers in search of a storyline, and emerging photographers looking for ideas. How many clients and future clients are following you?

If you were to rethink your social media approach to growing your customer base, how would you approach it? What would you talk about and what articles would you link to? Would you consider links to stories that would explore 2010 wedding trends, if you are a wedding photographer? Or, collecting fine-art photography, if you are a landscape photographer? What about building a senior portrait business? Would you post your ideas about capturing the perfect image from a student’s perspective?

There is no doubt that the happy talk churned up with a large network will, in time, result in more exposure for your business. But why wait? Why not take a proactive approach to using social marketing and talk directly to your customers? Any time you put control of the sale (or referrals) in the hands of another person, you end up waiting. If you are a control freak like me, waiting is hard to do.

Deborah is a contributing writer for LensFlare35.com. She can be reached on Twitter or via her Website.

My mind wandered back to 2002 and to a workshop Dave and I planned in Costa Rica. It was going to be a fabulous workshop with great guest speakers, hands-on training, and a gorgeous setting to shoot. We planned very structured days of field work, then back to the lab, more shooting, and back to the lab again. The hours began before dawn and ended at 10 PM. It was going to be a very intense 5-day workshop, but by the time they left, they would be stars! Or, so we thought.

What we discovered, after experiencing weak (putting it mildly) results from our marketing initiative was that we had crafted a workshop that involved way too much ‘training’ and not enough ‘fun.’ Our marketing materials were centered on outcomes and how intense this program would be. We forgot one of the basic tenants of any learning experience and that was to ‘inspire’ the person first to want to learn!

The premise is that when someone is inspired, then learning becomes fun. Without the inspiration there is no curious mind and you end up with simply more ‘work’. Lesson learned? For busy professionals, more work is not as enticing as more fun! It seems so simple in hindsight! In fact, I’m now so sensitive to even using the word ‘workshop’ that I look for other words to use when I’m writing promotional materials. Life lessons that hit your wallet tend to stick with you a bit longer, if you know what I mean!

One of the nicest compliments we routinely receive after a LensFlare35 podcast is that ‘your guest inspired me’. Those four words are so powerful, especially to Dave and I. We know what an inspired and curious mind can do. In many cases, this inspiration causes people to propel forward in new directions that they had never dreamed of before. Shoot, we’ve altered course many times in the past as a result of being inspired!

I believe the inspiration people are talking about comes from the visuals as well as the stories. We are in the midst of some amazing talent. When we look at the images before posting them, we are often just as ‘blown away’ as members of our audience. I’m not sure that our guests realize their contribution to the industry and how important their stories are to emerging photographers. Or, how they are opening curious minds each time they share examples of their work. What a great gift to give to someone…inspiration!

Deborah is a contributing writer for LensFlare35.com. She can be reached on Twitter or via her Website.

An investor in one of the companies we founded once asked about our revenue projections. When I told him that they were a bit flat, he commented “if you’re not going forward, you are sinking!” The thought scared the hell out of me. There were over 100 people and their families depending on us to meet revenue projections. We were just entering another economic crisis, or at least it was for software companies. It was the beginning of the ‘dotcom’ bust. We were all flying so high that it never occurred to us that revenue would come to a screeching halt when the public market enthusiasm for tech stocks began drying up. We were trying to file our IPO (initial public offering) before the window closed and there was intense pressure on hitting revenue projections to achieve the desired valuation. It was a time when investors, board members and our executive team were not sleeping nights. Contracts that we considered ‘sure bets’ were suddenly delayed or canceled. Everyone from our customers to our vendors was in the same pickle. There was no cash flowing.

While we finally recovered from those days, it got me thinking about the economy today and how many of us who own small businesses are trying to figure out how to keep the ball moving forward. No matter how talented you are as a photographer, the current economy has created some obstacles that are affecting your bottom line.

I guess the good news is that you’re not alone. We are all experiencing the same thing. Knowing that you’re not alone is of little comfort when you’re trying to balance the checkbook. I guess that is equivalent to saying that everyone on the Titanic should have felt better just knowing that they were not alone.

So what are your colleagues doing about it? Everything you can imagine and then some! I’ve never seen so many workshop sites, podcasts, blogs, e-learning, and e-books cropping up over the past few months. And, why you ask? Photographers who have mastered their craft are sharing what they know…and for a profit. That’s certainly good news for all of us interested in improving our skill. However, they wouldn’t be doing it if there wasn’t such a large market of hungry photographers who are looking for the ‘quick fix’ to their business problems.

The panic of reduced income to many small and mid-sized studios is a reality. The knee-jerk reaction to the economy, while giving the business owner the illusion of going forward, is oftentimes taking their greatest resource (their time) away from what will really generate income…their core business.

Don’t get me wrong, I’m not advocating that you stop learning. In fact, I’m suggesting just the opposite. There has never been such a body of great work out there to inspire you to refine your skills. However, you don’t want to throw the baby out with the bath water. Stick to what you know best, and leverage that to differentiate and generate a new crop of prospective customers.

Anne King (Dapremont)

Rarely, do entire segments of an industry dry up during an economic fluctuation. That’s not to say it can’t happen, but let’s think about it for a minute. Is it likely that brides and their families will not want the best wedding photography that they can get their hands on in a recession? Is it likely that seniors will not want the edgiest, hippest, coolest shots as remembrances of their high school experience in a recession? Is it likely that people will lose their interest in collecting art (landscapes, wildlife, etc.) during a recession? Or, is it likely that companies will no longer need great commercial images to sell their products or services in a recession?

The truth is that each one of these industry segments will experience different obstacles in capturing revenue in a down economy. There is little doubt that clients’ expectations are higher today than they were a few years ago. They want ‘more for their money’ and they will hold onto their wallets until they find someone who will give it to them. It doesn’t mean you go out and immediately reduce your pricing, in fact that could hurt your business more than you may realize if you are constantly chasing price points to draw in customers. But, it does mean that you look at value and perceived value in the eyes of your clients. Are you missing opportunities to add value to your packages through technology advancements (HD DSLR’s), style differentiation (taking a workshop to enhance your skill), or added-value packages (leveraging existing client relationships) that will meet or exceed these new expectations?

The fastest way to jump-start revenue is to look at your core business and leverage what you know. Go back to your existing client list and look for up-selling opportunities. When was the last time you had any contact with them? Your database of clients is your greatest asset in a difficult economy. It is much easier to inspire a customer to return for another engagement or project than it is to find a new customer. They already know and appreciate your work. Give them a reason…a good reason…to want your service again. Show them your recent work! Show them how you have refined your skills (workshop, specialized training, new equipment, etc.) to produce even better results! There is simply nothing more powerful than an image with the ‘wow’ factor to motivate a customer to contact you.

If your strategy today is the same as it was five years ago, you are missing the boat. There are opportunities in every market, even this one. The trick is to “go forward so that you don’t sink” but to do it in a very focused, very deliberate way. Jumping at every opportunity that crosses your path is time consuming and at the end of the day may not get you where you need to be. You’ve spent years developing your business. Certainly, a little downturn in the economy doesn’t mean you should toss away everything you’ve built and start over again. Look at the ‘low hanging fruit’ in your business first, and then branch out from there. For most of us, it’s our customer list and then our prospect list. You may be surprised with what you find.

Deborah is a contributing writer for LensFlare35.com. She can be reached on Twitter or via her Website.

As I look around my office, I see mementos of one success after another. So why is it that so many of us at this age begin to feel inadequate and fight to stay relevant in a world made up of young ‘kids’ with little knowledge and even less experience?

One would think the years of service, knowledge and wisdom gained by the time you reach the second half of your life would be an asset to just about any company. So why is it that when you send out hundreds of resumes, you never hear anything? Or, when you do, it’s an auto reply thanking you for applying. Then your resume goes into the deep dark hole, never to be discussed again.

Over the last few years, I talked to many colleagues from engineers, mortgage brokers, CEO’s of companies, to sales and marketing people over fifty. Everyone experiences a similar transition. It would be easy enough to write it off as age discrimination, but is the problem something deeper? Is there some light switch that turns off the moment we hit 50? As if you are smart and relevant up to the end of your 49th year…and then, abruptly, when the clock strikes midnight…you become stupid and irrelevant?

I suppose we could blame the marketplace with so many people at all ages continually floating their resumes and competing for the same jobs. It used to be that if you weren’t employed by the same employer for over two years, they considered you to be a job-hopper. Today, 1-1/2 to 2 years is the norm. The volume of resumes for each job is astounding and I’m sure most end up filed away until it’s time for the shredder.

Is it the marketplace…or is it us? Does our attitude change after 50? Are we less patient, burned-out, and tired of the same old routine? Have you caught yourself saying with a sigh, “same deal…different day?” Or, perhaps it’s one of my favorites “been there, done that, and have many t-shirts to prove it?” Or, the typical, “this is not my first rodeo.” What message are we sending?

Are we simply bored with the whole idea of working? Do we have so many medals that the everyday world of business lacks the fun, passion, creativity, and fulfillment that it once held for us?

Several years ago, while attending the funeral of my uncle, my sister said something so profound that it gives me a chuckle every time I think of it. There were four or five of us sitting in circle discussing career choices and, bragging about our accomplishments in business. When my sister was asked, “So, Mary, what do you do for a living,” she excitedly interjected “work has never appealed to me!” We giggled and resumed the conversation. Instead of feeling left out, she was happy to be on the outside looking in. She couldn’t imagine business would hold anything of interest for her. She had crafted a remarkable life of a ‘Martha Stewart’ clone outside the normal rate race that all of us were so consumed with. Not being part of the ‘inner circle’ was just fine with her. In fact, it was better than just fine.

Isn’t it about time to start working your passions? You know, those things you absolutely love to do but never had a chance to do them due to the long work weeks, burning both ends of the candle, and keeping the midnight oil burning for too many years. Trust me…we’ve earned the right to take this blank canvas and do something creative with it. Let’s write this 2nd chapter of our lives so that it is something worth talking about…and this time…let’s do it with passion!

It goes without saying that if you can buy an original piece of art…do so! The reality is, however, that budgets and art buying tastes aren’t always in balance.

For those of you who aren’t ready to invest in an original, but love an artist’s work and are considering an original print or a reproduction of that work, let me offer some guidance regarding the world of reproductions and prints.

Not all prints are created equal as you will quickly see. And, unlike what some writers would have you think…there is no concerted effort by the major publishers coming up with ways to mislead the marketplace with confusing jargon. Misleading the public is a surefire way to end a career in publishing very quickly. The short-term gains would never measure up to the long-term relationship a publisher has with its clients.

The truth is that print publishing technology and the technical ability of artists using the computer as a medium to create original works has changed so much over the past twenty years that the industry terms used to describe the difference between an original print and reproductions have become blurred, misused, and confusing.

To simplify, think of it this way. A print is either an original or a reproduction. Both original prints and reproductions can be printed on canvas or paper. Giclee prints are most often reproductions, but they can also be original prints. Confusing enough for you? To understand the difference in terms, one needs to consider the print making process.

Original Prints:

The artist is personally involved throughout the process of making an original print, thus in the eyes of collectors giving it the highest value in the print market. The artist begins the process by making the plate. This is often done by painting, drawing or etching on a block of wood, stone, metal, etc. The block is then used by the print-maker to make a plate from which individual prints can be pulled. The artist monitors the entire process and approves each print as it is pulled. As a final task, the artist personally signs and numbers his/her original print edition. Edition sizes are typically low in this process as it is very labor intensive. And, yes…crazy as it sounds…the word original does not mean that only one is printed as you may assume. The word original means that this image never existed in an identical form in any other medium. These numbered original prints are called ‘multiples.’ A Provenance Card or Certificate of Authenticity should accompany an original print with the information about the artist, publisher, edition size, and in the case of a Provenance Card an ownership history of the print.

Reproductions:

Conversely, if the artist were to create a painting, photograph it, make a plate, and have it run off on a press, the result would be reproductions or copies of the original. Reproductions can be limited in edition size or open editions, numbered and signed by the artist. Limited editions with lower numbers typically have a greater perceived value in the eyes of a collector than open editions. The same applies to the artist’s signature. If each copy is individually signed and numbered by the artist, it will hold a higher perceived value than those that were signed only on the original and copies made of that signature. Also, reproductions that are numbered under 10 hold a special appeal as they would with original prints. For this reason, you will find many artists reserving the first five of an edition rather than releasing them to the market.

A reproduction also holds a lesser value compared to an original print in the eyes of a collector because it has little or no involvement from the artist in the making of a print. That being said, most reputable publishers will have the artist or artist’s agent ‘sign off’ or approve color and consistency as an accurate representation of the original work if the artist is living and the estate whenever possible if the artist is deceased. In such case, this information would be stated on the Certificate of Authenticity that would be included with your purchase of a print.

Now that we have built a foundation of understanding comparing an original print to a reproduction, let us mix it up a bit to see if you have been following along.

What would you call a print made by an artist who uses the computer as his/her medium to create an original image, and then personally prints each print with no other person involved in the process?

What if they create the original work on the computer and hire a service to print the work out for them, as is often done with Giclees?

If you are thinking it is not a reproduction because it does not exist in any other form, you are correct. The artist is involved in the first question from beginning to end. In this case, it would have to fall into the original print category.

What about when the artist creates the original using the computer as his medium, and then takes it off to have someone else print it? This is where it becomes a bit more complicated from my perspective. I would want to know how involved the artist was in the selection of paper, size, edition size, color, etc. Did they stand by and approve every step of the process much as if the artist traditionally has done working with a print-maker? If so, it would lend credence to the belief that this work should fall within the original print category, especially if it is a limited edition size, signed and numbered by the artist. Some would argue that it should be valued as an original print on the fact that it does not exist in any other form, and perhaps they have a point. I personally place a higher value the more involved the artist is in the process. This is certainly a point for debate.

Can’t tell the difference between a Giclee print on canvas and an original?

You’re not alone. The quality can be so good that even curators can be fooled at first glance. The first thing I would recommend is to look for brush strokes by viewing the piece from the sides. This can be a bit misleading because some Giclee prints are now embellished with brushstrokes. However, you will notice that the embellished vanish strokes tend to be done randomly rather than the intentional brushstrokes of an original. If you’re still not sure, ask for the frame to be removed so that you can inspect it further. You will notice the uncoated paint around the edges of an original. On a giclee, the image will have a razor sharp edge…a true indication of a print or reproduction. Also, you can hold an original up to the light and often notice the artist’s drawings under the paint.

If you are causing a scene at the gallery or artist’s booth with your Inspector Kluso analysis, it may be wise to revert to your questioning… at least until the crowd disappears!

It doesn’t take long to see how confusing the world of prints can be. If you take away one tip from this blog, remember to work with people you trust. If you know of a reputable gallery owner or print dealer ask questions. Always insist on a Certificate of Authenticity when buying limited edition prints. And, if you are buying directly from the artist, do your homework and inquire as to how the print was created. Many artists are not as knowledgeable as they should be when it comes to selling reproductions of their work and often miscommunication rather than intentionally mislead.

Whether you buy an original, an original print, or a reproduction take the time to ask questions. If a gallery owner or an artist doesn’t jump at the opportunity to answer your questions…walk away.

A gallery visit should be an enjoyable experience. It should be an approachable environment where you can enjoy the art, ask any question that comes to mind, and learn about artists and their techniques. Only then, should an art enthusiast feel free to part with their money and purchase a work of art.

Unless you are an art history major, many of the terms used by gallery staffers can be confusing. From my perspective, knowledge of some very basic terms will help to guide you through the art jargon maze.

First of all, if we take a 40,000 foot view of art we would consider two primary categories: two dimensional and three dimensional works. The 2-D category is art that typically hangs on the wall. This work includes oil paintings, watercolor, acrylics, pastels, etc. 3-D work tends to be free standing or something that you would place on a tabletop. This category includes sculptures of bronze, glass, stone, wood, metal, etc.

Drilling down a little further, the next term you will hear is medium. As you might guess, the “medium” is what the piece is made of. For example, the medium in a painting could be oil, acrylic, or watercolor. You might also hear the term, mixed media. Mixed media would include two or more mediums in the piece. A piece that uses oil, acrylic and metal in the painting would be considered mixed media.

Style is another term used frequently by gallery staff to describe an artist’s work. A cursory overview of styles includes contemporary or traditional at a high level and within these categories you have abstract, cubism, expressionism, fauvism, impressionism, pointillism, pop art, postimpressionism, primitivism, realism and surrealism.

The best way to acquaint yourself with the styles of art is to look at the work of famous artists. For example, Chagall and Picasso painted in Expressionism and Cubism styles; Salvador Dali’s style became known as Surrealism; Leonardo Da Vinci’s paintings were done in the Realist style; Monet and Renoir painted in an Impressionist style; and Jackson Pollock’s paintings are considered Abstract style. Once you see the work associated with a specific style, you will find it much easier to identify art styles of some local or regional artists.

Another term you may hear when describing art is composition. Composition includes such elements as: the image area, depth or the perspective, line (the direction the viewer’s eye travels when looking at a painting), value (the use of light or dark values within an image to create the mood), proportion, and the relationship between form and space.

Instant recall of these terms is not necessary for you to appreciate art. However, an awareness of the thought process an artist goes through when creating a piece of art will enhance your gallery visits—and perhaps, give you a little added confidence when you interact with the super intelligent, sophisticated, and generally cooler than thou gallery staffers.

The first thing you want to consider when selecting art is your taste. Now, I know what you’re thinking—what if you have no taste? Rest assured everyone has a preference when it comes to art. People just have a hard time articulating what they want. To complicate matters further, many people find that their spouse or roommate have very different tastes when it comes to art. If this is the case, you will need a small dose of art therapy. The kind of art therapy I’m talking about requires several field trips together visiting museums and art galleries. (It’s the perfect date idea for you and your husband…except, perhaps, during football season!) Once you start communicating openly about your likes and dislikes, you will be able to find some common ground to work with.

After determining your taste in art, you will want to consider art from both primary and secondary markets. In the primary market (the first time art is sold), you will be purchasing art directly from the artist or the artist’s representative. The primary market offers a great opportunity to discover and support emerging artists. This market is more speculative than the secondary market since the artist/artist representative instead of the market is determining the value.

If you are considering pieces from the secondary market (resale), there are several things you will want to consider before purchasing:

Authenticity – Determine that the work was done by the artist to whom it is ascribed.
Quality – The work should rank among the best work of the artist.
Rarity – The rarer the piece within an artist’s body of work, typically the more monetary value will be attributed to the piece.
Condition – Does the piece need restoration? If there are signs of previous restoration, was it done properly?
Provenance – The seller should be able to provide the buyer with a complete history of who previously owned the work.
Value – The value will include the variables mentioned above and any information regarding secondary market sales for the artist.

No matter which end of the spectrum your taste in art happens to fall, the more time you spend educating yourself about art, the better purchasing decisions you will make. So, don’t just buy a piece of art to match the sofa…take the time to find art that truly speaks to you! If it happens to look great with the sofa…that’s all the better.

The point is—do we really know—which artists will be considered historically important in the year 2112? If the great masters of art were alive today would the industry readily recognize their talent? Or, is their talent a product of historic review—considered edgy and provocative looking back at that moment in time. Certainly, quality and good technique play a vital role in accessing an artist’s work…but what about style? Would their work be considered important or relevant if they were painting today?

The ARTnews article represented the opinion of over 30 experts. From that group of industry leaders across the globe, approximately 170 artists were named. Only six artists were mentioned more than once.

Andy Warhol (6)
Bruce Nauman (5)
Jasper Johns (3)
William Kentridge (3)
Yoko Ono (3)
Kara Walker (2)

Andy Warhol’s Pop Art led the pack with Bruce Nauman’s contemporary American sculptures as a close second. It will be interesting to see how these names play out 105 years from now.

Hopefully, someone is jotting this down in their calendar!

As children we start out with no inhibitions about what we think or what we draw. We believe everything is good. Our early drawings of a house, a tree, and the dog down the street are all wonderful works of art until someone tells us differently.

It would be hard to imagine an artist growing up today without criticism of some type, but imagine for a moment that a person could be protected from all outside influences. What would their work look like? Would it become stale and uninteresting without outside input? Or, would it be the ultimate in pure, raw talent, showing us something we’ve never seen before?

I’ve come close to seeing raw talent over the years. One artist, in fact, came in the other day that came close. He lives out on a ranch far away from the rest of the world. He has never received any formal art training, yet his drawings are exceptional. I noticed, as he described how he created his work, that his approach was unorthodox yet every bit effective. I also notice the unusual level of detail he insists on before releasing his work to the market. He isn’t worried about whether his work will be deemed historically important, or rushing to get to market quickly. He competes with no one but himself.

I often wonder if most artists have become overly susceptible to the influence of a very fickle art market, and that in the process we are recycling the same concepts over and over again to the point of homogenizing creativity. The art world is full of opinions and critics with great influence, yet no personal artistic skill to support their opinions. In listening to these critics we end up creating a lot of ‘stuff’—but truly raw talent—now that’s something to see. If only there was a way for artists to forget what they have learned from the critics, and return to the days of childhood when they could freely act on each and every impulse to create. If only raw talent could be rekindled, imagine the art that could be created.

This encounter got me to thinking. How is it that people see such different things in a single piece of art? We’ve probably had two or three hundred people look at that piece and no one else had mentioned seeing a pink giraffe. Is it a reflection of ones own input? Perhaps, it is created in the mind’s eye? Webster’s Dictionary defines the mind’s eye as “the mental faculty of conceiving imaginary or recollected scenes.” If that is the case, then are we conjuring up images each time we look at a piece of art based upon our own creativity and not necessarily that of the artist’s?

Skynear says the best thing he can do when he is working on a piece is to “get out of the way and let the art happen!” This being said, one could conclude that great art is often less intentional than it is accidental. Perhaps that is what we love best about art…the hidden personal surprises revealed when we allow our imagination to play free.