A few years into selling prints, I began to ask myself this very question when it comes to my photographs. Provenance being basically a historical record of the origins of the image, and if printed, the media and process used to produce the print. If the piece changed hands, then there is also traceability on the ownership. I don’t think I have ever had someone ask me what type of paper was used (other than if it was archival), or even what camera was used for a specific photograph. So I really questioned the value of keeping track of such information.
As I began to produce more and more prints and became better in my processing of them, I started thinking about how an image printed today looks so much better than the same one from 6 years ago. Maybe it will be even better in the future. I hope so.
The composition hasn’t changed, but the post-capture handling of it certainly has, as well as the technology available to produce more vivid prints. So it became readily apparent to me that there can be a significant difference in my growth as a photographer, as well as the quality of my work between the time of capture, and the time of printing.
When I print some of my earlier work today, I use all of the tools available to me today to get the final output looking as good as I possibly can. If I do a before/after comparison, sometimes it can be quite dramatic to the point where someone may wonder if they were from the same person.
To a point, they aren’t from the same person. I am not the same photographer I was 15 years ago, or even 6 years ago. That growth on a personal level is as important to to me, and I feel the need to be able to trace back some of that. So with every print I produce now, I always print in the margin or use a label that states the capture date and the print date. They are two distinct events of creativity and representation of me as the photographer.
I also will tend to record some details about the print media and process. Will it matter in the future that all of the prints I produced from 2010 were made with K3 Ultrachrome pigments and Hahnemuhle Fine Art Baryta paper? Maybe, maybe not. With certainty, a piece of art with a good provenance ultimately becomes more collectable. While I don’t have any preconceptions that one of my prints is going to be of any more value in the future, that piece of history may someday be worthwhile to someone. (For you assassins that read this blog, don’t get any ideas!) For sure I am not going to remember such details should I encounter one of my prints that is 20 years old.
History can be important. We are in a time of dramatic change when it comes to photography and exponential growth in terms of tools available to us as artists. Sometimes there is more about the final image than meets the eye, and provenance can bring along part of the journey to get there.
I don’t think I knew that trillium came in red. Gorgeous!!!
As far as record keeping goes… well, I have to admit it is not something I’ve given much though about. I know that Ansel Adams re processed and printed some of his earlier shots later on in life and those re processed ones were far prettier. If I were buying an image like that I would want to know I was buying the version I prefer. In that sense I guess the records are invaluable.
Hi Amber, yes, we are fortunate to have several different kinds of trillium here in Michigan. Of course the most abundant are the white ones, but we also have a smaller white one with red interior markings called a Painted trillium which is endangered. Thanks a lot, and thanks for the remarks on record keeping. I know I like some of my reprocessed older shots much better also.
You never know which direction collector tastes will go, or whether a photographer who does somewhat similar work to yours rocks to stardom and develops a huge following of collectors. Also, many, many photographers whose work is now highly collectible made the same sort of self-deprecating statement you made above, thinking their work would not become highly sought after. I would say the photographer, even if he or she has no ego at all, is wiser to bet for himself or herself, than against, doing everything possible to make sure your work has documented provenance. If anything it will help your heirs distribute your work as is fitting.
I only wish I could get the visions of the photo onto print, maybe I am asking too much but it seems a lot of times what I see and wish for aren’t always the same 😉
Thanks for all the input here folks. I noticed most everyone latched on to the record keeping aspect of it. Perhaps I didn’t get my main point across clearly enough, but I was trying to explore the idea if it is worth trying to keep track of the evolution of vision between capture and print. And is this concept worth anything to anyone besides the photographer?
@Anita, Roberta, thanks for the kind words on the image. It is one of my favorites of this flower.
This photo has shot up in the “favorite Mark Graf photos” list. When I first viewed the larger image, the first word that popped into my mind was electrifying. The richness of the color is stunning. Very interesting ideas, as well. I am dreadful at record-keeping, and you have me thinking that perhaps I should put more thought into this.
Interesting post and great shot. I used to keep copious notes in my film days, especially when I was doing my own printing. While I did not keep notes in the field, the darkroom notes were invaluable, especially if I needed to reprint. I still have those notebooks. I keep a similar record for digital prints I made, but now I prefer to send them out to a lab. High quality and cheaper than I can do at home but I still make a notation in the book. After I’m gone, they’ll make for good recycling.
I think it’s important to keep good records. I’m a horrible record keeper, but I try. I do record when prints are printed and my methods (paper, etc.), and I generally also try to record who purchased a print if I know that information. I don’t always though – especially when it’s a gallery sale. If the copyright collective laws ever come into effect in North America knowing who owns your work will become important.
Another gorgeous image. Such rich colors!
I tend to think provenance is of more importance to the photographer then to others these days, much as you described your own liking for recording certain facts in the margins or via labels. I too like to keep track of certain information marking my own progress but I can’t see it would be of much use to anyone else, unless perhaps my children after my death deciding what of my photos to perhaps keep or discard and even then it will no doubt be more about the subject matter. Interesting post.
Hi Mark, this is interesting question and I think that answer will differ photographer from photographer. I think that basically any information related to one particular photograph (both in digital and physical/printed form) may be beneficial. For example for sorting purposes or some sort of retrospection if for nothing else. In my opinion it is very beneficial to stop in a hurry once in a time, look back and weigh what was done and how and if this is the way you want to continue. Having an origin date of the photo you can do a yearly retrospective/evaluation, having information about printing media (pigment, paper) used for prints as well as a printing service may lead to a decision that you need to change some of these in future because you consider them as not sufficient. These are only examples and I think that it really depends on everyone needs and intentions what kind of information will store and how it will be used.