I visited Chicago’s happy place yesterday, Cloud Gate in Millennium Park and captured this image. Many cities likely have such places – those where everyone who congregates wears a smile. Yet some places seem to only produce half a smile for visitors. Sometimes people visit already in good spirits. And others visit parks a bit grouchy, and the chosen festive location only half lives up to its job. But this magical place, “The Bean,” always seems to make everyone smile. Everywhere you look, people are in absolute delight. Who knew something colloquially named after a vegetable could create such wonder?
Many a child’s fable includes winding roads that lead to mysterious places. From Alice in Wonderland’s figurative tumble to the Wizard of Oz’s yellow brick road, imaginary tales of dreams and experiences typically come in the form of wild adventures on circular roads, dangerous bends, and unexpected twists and turns. A contemporary urban tale set in an American city might just include this building. And I can’t help but believe that in the back of the architect’s mind lies a child permanently enraptured by such a tale. (I am equally sure, however, he would never disclose such a humorous, long suppressed inspiration.) When I look at this building, my imagination begins to soar, and I become lost in its winding soul.
August is a beautiful time of year. It’s still Summer and sunsets can, at times, display glorious colors throughout the house. Some days a beam streaks from the West and highlights the entire floor, from the back to the front.
I love this time of year because of the silent array of sunset colors it brings. It’s palpable. The warm setting sun rests across my hands and eases them. For many people, the day stops.
Everyone watches beautiful colored sunsets. This day, the same feeling of comfort and peace came over me. I was visiting the Bean at Chicago’s Millennium Park. It was just before sunset. The park was still moving with people enjoying the remnants of the day. Then a deep, still quiet set in, as the sun cast lowered across the sky in my mind.
To view additional details about this image and/or purchase a Limited Edition print, visit https://jdnphotos.com, the Majestic Chicago Collection.
Although I usually prefer long exposures – especially when there are wispy clouds around, this day the natural sky was enticing and unexpected. The long over-arching streaks spanning the sky looked a bit like dolphins jumping over a thick forest of trees. I decided to stitch together a series of images to create this one large panorama.
Have you ever visited a weekend Art Show and looked at the prices of prints? It is not uncommon for many to be priced well over $1000. In 2015 I attended an Art Show and saw prints priced over $3000. You may have wondered why the print was priced so high. While I can’t address pricing set by other photographers, I can offer some background information that might help.
One factor that can impact print pricing relates to a photographer’s strategic marketing plan – that is, whether or s/he decides to make a print available to the general public in unlimited quantities at low cost or limit the number of prints available (i.e., a “Limited Edition”) and number and track each one sold. It is one factor each photographer much decide upon, typically early on, when selling fine art prints. Most Limited Edition Black and White Fine Art prints at Janice D Nelson Photography have a limit of 500, and pricing is most affordable in the early stages of offering. (Prices for some prints begin at $299.) As a Limited Edition print sells out, the price increases.
Like other types of Art, another factor impacting price is the time and cost to create it. Art that requires many hours of work is generally priced higher than those requiring less work. All of the Limited Edition prints here required between 40-100 hours each of meticulous post processing. For example, Road to Infinity (a personal favorite) reflects over 100 hours of work. For this reason alone, pricing fine art can vary greatly.
Other factors may include the number of awards a print has won, the size of a print, and even the paper and backing used to print and prepare an image. Archival, acid free paper and backing, etc., are more costly, and these factor into a price. Options such as matting and framing increase the price of a print. Here again, there are different grades of materials. The glass used on a matted and framed piece varies because there are different types – Plexiglas, non-glare, conservation glass, etc.
All these things mean that although one framed print may look the same as another, it helps to know more about how a piece was created, developed, post processed, the history of the work, materials used, whether it is a Limited Edition, etc., to understand the value assessed by the Artist.