Just a couple of days ago I got to do a task that's one of the things I like best about my job—I got to select four prints by Michael A. Smith and Paula Chamlee for our upcoming print sale.
For a long time now I've wanted to do a print offer of large format (LF) and ultra-large-format (ULF) silver-gelatin contact prints. (For those of you who don't know what a contact print is, it's when a negative is laid directly on the photo paper, sandwiched between the paper and the glass of a contact printing frame—it creates a one-to-one sized print that's the same size as the negative.) It's not easy finding the right artists for such a thing—when offering artwork for a fraction of normal gallery prices, one of the ways artists can "protect the value" of their regularly-priced work is by offering smaller-sized prints. And, obviously, that doesn't work with contact prints! I'm very happy that Michael and Paula agreed to do this.
The two of them first went through all of their pictures and picked several dozen that were appropriate for series printing. Then they sent me a CD with all of those photographs on them. I picked a dozen I liked best, and a few days later a luan mahogany plywood box arrived from Pennsylvania containing mounted and overmatted archive prints of all the pictures I'd selected. That was a treat. From these, I picked two of Michael's 8x20-inch prints and two of Paula's 8x10-inch prints, and a few alternates. Fortunately, we're going to be able to offer my first choices in this sale.
Michael and Paula have been working fine-art photographers for a long time. They're widely collected, with prints in more than 140 museum and private collections. They have published many books—Michael has five to his credit, including the famous A Visual Journey, published in conjunction with his 25-year retrospective at the George Eastman House, and Paula has published six, including one of my own favorite photobooks, High Plains Farm, a loving look at her farmer parents (then in their eighties) and the windswept plains farm in the Texas Panhandle where she grew up.
The lowest prices they normally sell their work for is $3,000 for an 8x20 and $2,000 for an 8x10—and that's only for their newest, latest work; older work increases in price from there. For the five days of our sale, we'll be able to offer Michael's two 8x20s for $350 each and Paula's two 8x10s for $250. Plus we'll have discounts for multiple orders. Each print will be mounted and overmatted—Michael and Paula never sell unmounted prints—and signed. After our sale, five Artist's Proofs will go into their archives and then that's it—the images will be retired permanently. The TOP Print Offer images I chose last Friday will never be offered for sale again.
As usual, our print sales are only open for a five-day window; as regular readers know, when it's done it's done. (Again, if you don't know our sales model, we take orders first and allow the photographers to print to order. This is how we can make it both profitable for the photographers and a nearly matchless bargain for you. TOP gets 20% for hosting the sale, meaning most of the profits stay with the photographers but I get a swell commission. I like to call it a "win-win-win" situation, and I really think it is that.)
The sale will begin near the end of this month—I'll announce the exact date next Monday or Tuesday.
I hope you like the pictures I picked—it wasn't easy. I tried to choose examples that really bring out the distinctive beauty and extremely fine, delicate detail of contact prints. Michael and Paula are both essentially (but not exclusively) classical landscape photographers, so I tried to pick pictures that highlight their connectedness to the almost mystical beauty of the natural world.
Check in on Monday for the announcement of the start date. Or if you want up-to-the-minute alerts, subscribe to TOP's Twitter feed at @theonlinephotog.
Mike
Original contents copyright 2013 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Geoff Wittig: "It would be difficult to exaggerate the esteem in which Paula and Michael are held in the photo book world. Their Lodima Press imprint has produced some truly exquisite books, from the best Edward Weston book on the planet to an eclectic range of small softcover monographs. And their own work is just beautiful; Michael's wide format book of images from Tuscany is one of the highlights of my library. So I can hardly wait to see what you folks are offering...."
Dale: "Nothing, absolutely nothing in photography is as marvelous as a well executed contact print! Now, one of an interesting composition is worth buying and these sound like they will be a steal!"
My poor credit card. My poor, poor, poor credit card.
Posted by: James Sinks | Friday, 18 January 2013 at 11:53 AM
I was fortunate to have taken a workshop with them, and they are an inspiring couple. Part of the workshop included reviewing many of their prints which was a joy to see. Would have a very hard time paring down to only 2 prints by each - looking forward to seeing your selections.
Posted by: Doug Howk | Friday, 18 January 2013 at 02:38 PM
Please, for those not thoroughly familiar with the technical terms do explain "mounted and overmatted", if possible with (a link to) illustrations.
Posted by: Hendrik | Friday, 18 January 2013 at 04:02 PM
Hmmm... that would still be a lot of money for me but if I can come up with it, I think I will.
Posted by: Tim F | Friday, 18 January 2013 at 06:22 PM
I do like your print sales. This sounds very nice.
Posted by: Graham | Friday, 18 January 2013 at 08:46 PM
@ Hendrik: The actual print is attached (adhered) to a backing board. A cut mat board is then hinged, via tape, to surround the face of the print.
Posted by: Kenneth Tanaka | Friday, 18 January 2013 at 09:57 PM
I've been very fortunate to view hundreds of M&P's prints. This is quite an opportunity to acquire some of their work. I imagine you may sell the whole lot in less than 12 hours.
These prices are incredible. Paula and Michael's work is just exquisite when viewed up close and personal; thanks for the heads up on their upcoming offer.
Posted by: Don Bryant | Friday, 18 January 2013 at 10:03 PM
Does Michael offer any information as to when the Bret Weston Portfolio series will resume? I've asked him and he responded that he would address the issue soon through an e-mail to subscribers. That was several months ago and I've heard nothing.
Posted by: Jim Turner | Saturday, 19 January 2013 at 08:24 AM
I'm in already. Just pack'em and ship'em.
Posted by: Paris | Saturday, 19 January 2013 at 09:54 AM
... ah, a passepartout as we say (in Germany although the term is French). Thanks, Kenneth!
By the by, are there going to be any "seconds" to your "Olympus E-M5 First Notes (vs. NEX-7 and E-P3)"? Or were there, and I missed them?
Posted by: Hendrik | Saturday, 19 January 2013 at 11:07 AM
Buying great art gets no better than this. Michael and Paula are true to the best ways and reasons to do great art. They do not compromise. I know of no other photographic artists so true to what they do, without artifice or gimmicks of any kind. I can not wait to see the choices! I took one of their workshops over ten years ago, and can say they are among the most helpful and genuinely wonderful artists I have ever met.
Posted by: John Sarsgard | Saturday, 19 January 2013 at 08:13 PM
Ok, I'm sure this isn't going to be a popular comment. Am I the only one bothered by this? This is one of the issues I have with photography as a collector. They currently sell their work for 2000$-3000$ USD per print but these prints are now a tenth of that price. What about all the folks who purchased previous prints. By offering these prints at this reduced price they have just basically said hey thanks for the 1800-2300$ tip as our work is really only with this much now! If I were to own any of their work I would be contacting them for a refund! This is no different, IMHO, than having a limited edition which sells out then saying "well that went well so I'll just make some more even though the edition is sold out". One of the few things we can offer as Artists is our integrity. This is just wrong and hurtful to the rest of the photographic art community. Then we wonder why Photographers are not taken seriously in the Art community.
~James
[James,
I agree that if they were selling pictures for $350 and $250 that they'd already sold to collectors for $3k or $2k, then you'd have a point--and a legitimate gripe. But they've never sold any of these four pictures before. Surely you're not suggesting that all of the products of any given artist must be, should be, or even can be exactly equivalent in value. It's nearly certain that the value of these prints will never match that of their better known work; the market will always know that these prints were part of this large "populist" sale. The two won't be confused. But that doesn't mean people can't enjoy these for what they are.
--Mike]
Posted by: James Tarantino | Saturday, 19 January 2013 at 08:51 PM
The photo of Michael must have been taken with a wide angle, as there are interesting lens distortions going on: the skyscraper to his left behind him is leaning to the right, and the skyscraper on the right is bending in a curve towards Michael.
Posted by: Stephen Scharf | Sunday, 20 January 2013 at 02:48 AM
James, good points. But photography really is different. Oil paintings and watercolors are one of a kind in a way that perhaps only wet plate or the like are similar. The buying audience here is mostly photographers. Michael and Paula are giving fellow photographers an opportunity to acquire their work on a most generous basis. They are respecting their long time collectors by offering images not previously part of the market, then retiring them. As Mike said earlier, this is win, win, win. Nobody is being screwed. Makes me smile. Who is frowning?
Posted by: John Sarsgard | Sunday, 20 January 2013 at 08:46 PM
Dear James,
Let me see if I have this right. You're saying that I, the artist, have to price all of my work exactly the same, all pieces, at all times and under all circumstances? Really?!?!
Not going to happen, not ever.
If you, as a collector, expect photographers to behave that way, you are going to live in constant disappointment.
I've sold, probably, 3000 prints at various discounts, highly limited in scope and time and circumstance. I have never, ever received a complaint from any of my "regular" buyers about this.
If someone, by happenstance, were to buy one of my prints at normal price and that exact same print were to go on sale within some reasonable time frame thereafter, I'd likely offer them either some money back or let them apply it to another print. This has happened exactly once. They decided to use it as a credit towards another work, so I actually made MORE money, and they thought it unusually kind of me to make them the offer. They didn't feel it was owed to them.
Perhaps my patrons are an unusually accommodating group and you are more typical of the norm. I certainly hope not.
Were anyone to ever write me demanding a refund on a completely unrelated work because I had the temerity to hold a sale on any of my works, they would receive an exceedingly polite reply whose unwritten subtext would be an exceedingly impolite suggestion as to where that demand might be placed by them.
pax / Ctein
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Posted by: ctein | Tuesday, 22 January 2013 at 01:35 PM