I often get questions about the signing and numbering of photography prints. As with any art work, piece of music or writing, the author adds his signature as a way of identification and as a stamp of completion and approval. I sign and number all my prints. At some point I might offer non-numbered, open edition prints, but at this point all my prints are part of limited editions. I generally sign and number prints on the white border below the print with an acid free, archival ink pen. I sign on the lower right and number on the lower left. I sign close to the print edge so that a collector can choose to have it matted with the signature showing or so that the matte covers up the signature. Some photographers sign directly on the printed surface like a painter, and I have done this at times, but prefer not to write on the print itself. If I, myself, am having the framing done for a show or for a client I also sign and number the matte with a pencil in addition to signing the print itself. When I number the print I write it as a ratio of the print number over the total number in the edition. i.e. – 15/200.
In the darkroom days when an image was mastered from film an entire edition of prints was often produced all at the same time. So, by definition, the edition actually was limited. In these days of digital imaging we can create an infinite number of prints of varying sizes from our digital “master” whenever we please, so thier isn’t a functional reason to limit the number of prints. However, art buyers still value limited edition prints becasue they know they are purchasing something that hasn’t been mass produced and will continue to be a somewhat rare and collectible item. Deciding how to establish edition size can be tricky and will be different from one photographer to another. If editions are limited to only 10 prints this will increase perceived value, but will also strictly limit the photographer’s ability to create income from the photo over the course of his career. On the other hand, an edition of 1,000 prints is large enough to decrease the value of each print in collector’s eyes. Most photographers I know have limited editions between 50 and 200. Some also apply other rules to their limited editions. Some photographers have a sliding price scale so that the print price goes up as more of them sell. In theory, this encourages more early sales while the price is lower and then increases the price as the print gains popularity. Other photographers will reserve the first five or ten prints in an edition for gallery shows and special clients, or just to archive for the future.
It is important to carefully set edition numbers. Once an edition number is set it can’t change later. It is important to find a number small enough to be considered limited but which does not remove the image from the photographer’s portfolio too early in his career. It is also important to specify if the edition includes all print sizes or if each sizes constitues a separate edition.
To date, all my prints are in editions of 200 total, so no more than 200 of any image will be produced regardless of print size. At this point in my career none of my editions are in danger of selling out, which is good because I plan on selling them for many years to come.