As I commented earlier, according to his biography, Ansel claimed
having been convinced to destroy a negative in order to create a
"limited addition". The resulting trauma precluded his ever doing it
again.

Jack

--- Paul Stenquist <[EMAIL PROTECTED]> wrote:

> As far as I know, none of the great photographers who printed limited
> 
> editions destroyed their negatives. There is something intrinsically 
> wrong with that notion. The negative or the digital original must 
> always be preserved. All of my gallery prints are numbered prints of
> a 
> limited edition. They are a far cry from fine art, but buyers want to
> 
> konw that their print is not just one of many.  Iif I ever sell the 
> entire series of an image, which is highly unlikely, I will stop 
> printing that shot. But I won't destroy the original file or
> negative. 
> My best selling print, by the way, is from film. But I hope that will
> 
> soon change.
> Paul
> On May 1, 2006, at 11:32 PM, Aaron Reynolds wrote:
> 
> >> The only ethical way of doing a limited edition is to make your
> print
> >> run, then destroy the masters. That way your buyers can be at
> least
> >> assured that any future print has to be a reproduction of one of
> the
> >> originals, and thus not worth as much. Please note that you can do
> a 
> >> run
> >> of 100, sell 10 of them, and still have 90 squirreled away in a
> box to
> >> sell in the future.
> >
> > Of course, this does not apply at all to the situation at hand,
> where 
> > there are actual conventions to be obeyed that will not change just
> 
> > because you don't like 'em or think they have problems.  Like I
> said 
> > previously, no one in the art community really gives a damn what
> the 
> > PDML comes up with -- they have their way of doing things, and you
> can 
> > either join in or not join in, but standing off to the side and 
> > telling them how wrong they are will not get you anywhere, and
> surely 
> > will not increase your sales.
> >
> > -Aaron
> >
> 
> 


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