Little Bay Photo, South West Rocks, NSW

Just back from a quick trip to South West Rocks on the Mid North Coast. Got some weird weather pouring rain then it clears then come the afternoon it is cloudy again. Made for some interesting light and shooting. This shot is a cracker of a location at South West Rocks. This is exactly what it looked like at the time.

A digital panoramic of the location really did it justice instead of using the 90mm lens on the Fuji GX617.

This image is added to the Mid North Coast Gallery.

Maroubra Beach Photos, Eastern Beaches, Sydney

Out shooting Maroubra and the day quickly turned from being blue to a storm rolling in from the West. After taking this shot there was only a few minutes before the rain was torrential.

Shot on the Fotoman 6×24 | Velvia 50 slide film | hand held lee 2 stop ND soft grad | film scanned twice on the Imacon 343 and joined in CS5.

My full range of Eastern Beaches shot can be seen in my gallery. “Click here to view gallery”

CLICK MAIN IMAGE FOR LARGE DETAILED VIEW

Nobbys Beach, Newcastle, NSW

Well this morning I decided to venture out a bit and shoot some new areas aside from the Central Coast, so here is a digital panoramic I took as the sun breached the horizon at Newcastle. This is the road way that links Newcastle Beach to Nobbys Beach with Nobbys Beach Lighthouse in the background.

This shot has amazing detail. I also shot this spot on the Fotoman 6×24 after seeing how this shot came up after editing I kind of feel like I wasted my film. Oh well… guess digital has to win sometimes.

YOU REALLY HAVE TO SEE THIS ONE LARGE SO CLICK ON THE IMAGE TO “VIEW LARGE”

23 image star trail stack Forresters Beach

Sat back all day thinking where on the Central Coast I could go too do a nice star trail where I can stack the images to really see the result and the only place that comes to me is Forresters Beach. I am sure you lot are sick of seeing this place but hey it is so fantastic to shoot.

So this shot is done under a 90% illuminated moon. (Waxing). It is a series of shots taken over about an hour and a half and ended up being a 23 image stack. Kind of wished I had of done another half hour to extend the star a bit more but the cold slowly crept in and froze me. I’m so over Winter. When I got there it took me about 40 min to find a composition I liked and then it was a case of set it up, dial the settings into the Canon intervalometer remote, pull out the PSP sit back and watch a movie while the camera does it’s thing.

Putting the final series of shots together is pretty simple it is just a series of processes that are repeated. So I have done a full post production video tutorial from start to finish on how this image was put together. I go through and create several actions in photoshop to streamline the processes to save time blending the star shots together and getting the files ready for stacking. I will go over my capture settings as usual and also the focus method.

The tutorial goes for 19 min 14 sec and is listed under ” After Dark “ on the Rubbing Pixels website and is available for ” Members Only “. You can view the tutorial by clicking here.

CLICK THE IMAGE FOR A LARGE VIEW

Is Limited Edition photography really an asset to a buyer ?

Last week I took the family to Hunter Valley Gardens (not Duff gardens) and we walked through the Ken Duncan’s Gallery that he has up there. While looking around I saw some mounted 11 inch panoramics selling for $99 and 18 inch mounted panoramic’s selling for $199 each. All where limited editions of 2000 and it got me thinking about the difference between limited edition and open edition and the ways in which limited editions are done and thought it would make for an interesting blog post.

Now before I go any further please note that this article is my own opinion and I will make general speculations. I have used well know landscape photographers Ken Duncan and Peter Lik as examples as people know and respect their work and they have a proven track record of being very successful in this industry. So if for some reason you take what I say to heart please be mature in any post you care to give, unlike some in the past.

Anyway now that for formalities are out of the way … for starters I personally don’t do limited edition images. I have considered it, even to the point that I have put some images aside to be limited editions but I just don’t see myself taking that route at this time. Purely as a personal choice. I have lost sales in the past from people who have called me asking if I offer any limited editions. When I inform them that I don’t, they have taken their business else where.

When you decide to do limited editions from my experience of seeing how other photographers do it there are many roads. Some are a bit questionable but all with one goal. To sell your work at an increased price to open editions, that will gradually increase as the edition number closes with a sales pitch that when the edition closes the price of the work will be of greater value and that you are buying an asset. Before I touch more on that topic here are some ways I have seen limited editions sold.

1. Edition print runs offered 30 inch and higher ranging from 50 to 300 in an edition. This is the method used by Ken Duncan and most who sell Limited Edition.

2. Edition print runs offered 30 inch and higher but numbers are limited to around 300 but also limited in the size offered as well. So there might only be 50 prints offered in the 30 inch size, 100 in 40 inch etc. This is a method that I have seen Peter Lik do. Not 100% sure if that is the case still.

3. Another one I have seen is edition print runs over 30 inch of an image in numbers of around 300. But the photo is also an open edition if purchased in sizes under 30 inch. I disagree with this method. A photo is either limited edition or it’s not. I have only seen a few photographers do this.

4. The other one is limited editions of 1000, 2000 or higher sold at a lower price than editions of 300 but are also have a size capped and are not offered over 24 inch. This is another method by Ken Duncan. One could argue that 2000 copies of an image isn’t really limited edition but I guess you are paying less and still getting a great product from the photographers who’s work you admire.

With selling limited editions there is quite a sales pitch that comes with them of how the buyer will eventually own a photo that will be an investment, especially when the edition sells out. This is great if true, but in reality this is only going to be true if there is a market demand for your work when it sells out and at a higher price than what most paid for it and their is a precedence of your work selling at a given increased price point.

Now for example if you look at Ken Duncan’s Hot List of images on his website that are about to sell out. A 75 inch framed 3:1 panoramic is going to sell for $5900. Now if you take a look at the Hall of Fame – Resale prints the average price of a framed photo selling there is $7000. Now guessing that in the Hot List there are also 75 inch photo’s IF someone buys a Ken Duncan photo and decides to resell it later you could expect a minimum profit resale margin of $1100 (minus their commission for the resale). If you bought the photo earlier in the edition for a lower amount say $3400 for a 75 inch then your return will be greater but that is only a profit of $3600. Now this profit margin I would say is going to be dependent on what image is being re sold and I would guess that there are images with higher demand than others which will bring in a higher return on re sale and also it’s edition number too. This is also reflected in Ken’s hot list as some images are re selling for $22500. But someone has to buy it at that price for a precedence to be set.

Another example is you hear roomers on forums that Peter Lik will sell a framed panoramic image for $40,000 US and his sales people telling buyers that when the edition sells out it will be worth double the amount (no wonder he turns over 30 million a year) . This would only be true if someone is willing to pay $80,000 for the closed edition image. Now if there is proof that his sold out editions sell for double, then and you could honestly say this to buyers who have been happy to pay double for his closed editions. Other than that this would be salesman Bull S*$t to get the sale and I would ask for proof of resale at the higher amount as promoted.

So the profit (or acquiring of an asset) to be made to investors in buying anyone’s Limited Edition is only real if there are proven re sales to back it up. Not sure if you could list owning someones limited edition photo as an asset on your home loan application. But there are people (I would guess most) who don’t give a rats about the re sale value of the photo, they just love it for what it is and enjoy the knowledge that not everyone will be able to buy one and that the photo itself is limited.

Selling Limited and Open editions is a personal choice and main stream veterans like Ken Duncan and Peter Lik show the best way to do it and their model obviously works very well.

Avoca Beach Dawn on the GX617

There has been some nice sunrises getting around of late and this is one from last week. The light was so amazing you just didnt know what direction to point your camera. I think I made the right choice.

Fuji GX617 | Velvia 50.

CLICK THE IMAGE FOR A LARGER VIEW

Hasselbald 500CM 40mm lens V’s Fuji G617 105mm lens.

Before the new beast arrives here is a comparison shot between the blad and the Fuji G617. Hasselblald 6×6 with the 40mm lens on the left and Fuji G617 with the 105mm on the right. Set up side by side at the time.

Now all I need is another three tripods for my Fotoman 6×24 (110mm lens), Fuji GX617 (90mm lens) and the 5D Mk II. Can be quite a circus when I am out shooting some times 🙂

Both images shot on Velvia 50 of course with the lee 2 stop soft grad. Filter hand held for the 40mm lens.

Click the image for larger view.