Galleries are great for viewing actual prints, often framed. They have good selections of my works and can arrange all of it. They can help with framing options—in-house or in nearby shops. And they keep more regular hours than I do.
LightBox Photographic Gallery
Michael & Chelsea Granger
1045 Marine Drive, Astoria, OR 97103
LightBox is Astoria's fine arts photography gallery, with strong exhibits, and serves as a center for the promotion of creative and alternative photography.
1418 Commerce, Longview WA 98632
Longview, Washington's fine many-media contemporary art gallery has represented my work since its founding in 1982.
• Most common size is an approximately 11x17 inch image printed on 13x19 paper, framed 18 x 24.
• Price is $ 145, with some prints available at an introductory price of $95. U.S. Postal shipping included.
• Framed prints, add $100 and for UPS packing and shipping, estimate $30-40. I use black metal frames and white, black-core conservation mat, and UV-protective framer's glass. You may quite reasonably prefer more flexible framing options at your end.
Some prints are excellent larger. For instance, up to 14 or 15 x 30 inch image, $240, U.S. Postal included. Framed up to 24 x 30 for $ 495. Packing and shipping estimate on request. Introductory price, $50 less, available for certain images. Sizes larger still can be arranged.
Other prints are excellent in a smaller, more intimate presentation. 4x6 through 6x6 image, $85 for the bare print, postage included. $ 150 framed 10x10, UPS packing and shipping estimate $15-20.
All prints are signed and numbered.
Gallery prices are the same.
Ink and paper: Epson UltraChrome® K3 inks on the Epson 3800, 2400, or 9800 printers, and on older prints, Epson UltraChrome® inks on the Epson 2200 are used. Epson Premium Luster or Hahnemühle Photo Rag® Pearl 320 gsm paper are my current most-used papers. Some prinmts are on Epson Radiant White or Crane Museo. Your prefences on paper can often be met.
Just ask. I'm practical. firstname.lastname@example.org
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I especially value workshops where art meets natural history, and those using art to respond to social and cultural problems.
Experience? Over 70 college courses taught. The Black-and-white darkroom was my primary medium from 1966 to 1992, and continues as a teaching medium. Aldus PageMaker and Adobe InDesign page layout since 1990. Photoshop and digital printing since 1995. Current teaching is thoroughly digital.
Ordering & Payment
Inquire & order by e-mail, telephone, or postal mail. Prints may be shipped, or files provided for downloading, as needed.
When you have placed an order, I'll e-mail you an invoice which you may pay on PayPal, with your credit, debit, or Paypal card.
Or you may send a check; or your purchase order, invoice, & check may be accommodated.
The idea of limited edition prints began with etchings and lithographs. Two features naturally limited the number of prints produced: The artist’s design on the plates and stones used wears down a little bit with each print, so only a limited number of superb impressions can be made. Also, the plates and stones are expensive, and artists need to reuse them with new designs. Dealers and investors like this because it creates scarcity of highly desired images, supporting high and growing prices.
In photography, such limits are entirely artificial. Negatives do not wear out from use, and digital files are even less vulnerable. Many photographers, including myself, have experimented with limited editions.
A few years ago, I needed to decide what limit to set on my new editions, and researched photographers who I most respect, including Ansel Adams, Christopher Burchett, and Bruce Barnbaum. I found that many photographers have tried and abandoned making limited editions. The owner of the longstanding best photographic sales gallery in Portland told me “David, people will buy the print if they want the image, not because of the edition number.”
My conclusion is to accept nature of my medium, and not limit editions. I continue to number and sign the prints, so purchasers of early prints will always have that honor. Those interested in the value of prints may note that “vintage prints” produced approximately contemporaneously with the initial introduction of the image have typically been highly valued. The truth is, most photographers sell very modest numbers of even their most popular images.
Most of my prints are numbered, open editions. Some of my past prints are limited editions.