Fine Art Photography
by Hope, TerryFormat: Hardcover
Pub. Date: 2003-08-01
Publisher(s): Rotovision
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Summary
The fine art market is flourishing on an international scale. Shows such as Paris Photo have been set up over the past few years to promote fine art photography to collectors, and new galleries dedicated to photography are opening to cater for that demand. This beautifully illustrated book looks at all aspects of this growing market and advises photographers of all levels on how to get involved. Sections on producing, exhibiting and selling your work, as well as a study of photographers who've 'cracked' the market, make this book a truly comprehensive guide to breaking successfully into the business. Book jacket.
Author Biography
Award-winning journalist Terry Hope studied photography at Harrow College in west London in the mid-1970s. He moved into photographic journalism in 1981, running the features department of Camera Weekly magazine until 1989. After freelancing for a time he became Features Editor and then Deputy Editor of Amateur Photographer magazine, leaving to freelance again in 1998. He's now a regular contributor on a variety of subjects to the UK's national press, appearing in The Times, The Sunday Times, The Sunday Telegraph and The Guardian, and he continues to contribute interview features to the UK's photographic press
Table of Contents
| Introduction | p. 6 |
| What is fine art photography? | p. 8 |
| Characteristics of a fine art print | p. 13 |
| Choosing black and white or colour | p. 14 |
| Subject matter | p. 16 |
| Pricing | p. 19 |
| Case studies | p. 20 |
| Andy Small | p. 22 |
| Tim Flach | p. 26 |
| Phil Bard | p. 30 |
| Iain Stewart | p. 34 |
| Thomas Kellner | p. 38 |
| Photographic festivals | p. 42 |
| Presentation | p. 44 |
| Different approaches | p. 47 |
| Printing your own work | p. 47 |
| Profile: Adrian Ensor | p. 48 |
| The black-and-white approach | p. 51 |
| Vintage printing techniques | p. 52 |
| Profile: Randall Webb | p. 52 |
| Profile: Allan Jenkins | p. 54 |
| Popular processes | p. 57 |
| Polaroid processes | p. 59 |
| Creative techniques | p. 60 |
| Profile: Jack Perno | p. 64 |
| Modern methods | p. 66 |
| Digital versus silver halide | p. 69 |
| Choosing a printer | p. 70 |
| Archival methods | p. 73 |
| Print longevity | p. 74 |
| Accurate colour | p. 77 |
| Working with inkjet | p. 77 |
| Profile: Ian Cartwright | p. 78 |
| Print variations | p. 81 |
| Profile: Dan Burkholder | p. 81 |
| Postcards | p. 83 |
| Profile: John Claridge | p. 84 |
| Finishing | p. 86 |
| Getting the presentation right | p. 88 |
| Archival considerations | p. 88 |
| The signature | p. 88 |
| Framing | p. 89 |
| Bespoke framing | p. 90 |
| Selling your work | p. 92 |
| Gallery representation | p. 95 |
| The gallery view | p. 97 |
| Type of gallery | p. 98 |
| Self-help | p. 101 |
| Profile: The Lupe Gallery | p. 102 |
| Relationships | p. 106 |
| Profile: Roderick Packe | p. 108 |
| Selling your own work | p. 110 |
| Exhibiting | p. 113 |
| Local shows | p. 114 |
| Is it worth it? | p. 117 |
| Self-promoted exhibitions | p. 118 |
| Publicising the event | p. 120 |
| Craft and art fairs | p. 122 |
| General markets | p. 125 |
| Profile: Aldo Cervato | p. 126 |
| Building a website | p. 129 |
| Profile: Andy Small | p. 130 |
| Gallery | p. 132 |
| Index | p. 158 |
| Acknowledgements | p. 160 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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