Limited Edition vs Open Edition Prints

As an artist deeply passionate about landscape and nature photography, one of the critical decisions I've faced is whether to offer Limited Edition or Open Edition prints. This is a crossroads for many photographers and an essential consideration for collectors as well. After years of reflection, research, and conversations with colleagues, I've chosen to offer exclusively Open Edition prints. This article explains why - so you can make an informed and confident decision when buying photographic art.

Let's start with clear definitions.

Limited Edition prints are restricted to a specific number of copies, usually signed and numbered by the artist. Once the edition sells out, no more prints of that image are produced in that edition, creating a perception of exclusivity and rarity.

Open Edition prints, by contrast, have no fixed limit. They can be printed as many times as demand requires, making them more accessible and affordable while maintaining the same artistic quality.

On the surface, Limited Editions seem appealing because they offer perceived scarcity - a classic marketing technique - but as we'll see, this concept is flawed, especially for photography.

Limited Editions appear attractive to both artists and galleries because they create urgency. Marketing experts often extol the virtues of scarcity as a powerful sales driver. Buyers feel they must act fast before the edition sells out, while galleries leverage this to command higher prices.

Many photographers, eager to establish themselves, see peers using Limited Editions and assume that's the professional standard. Indeed, online searches and gallery advice often reinforce this, promoting Limited Editions as a way to increase perceived value and attract collectors.

But as Matt Payne noted in his excellent article "Limited or Open Edition Prints?", much of this is rooted in outdated practices and questionable motivations.

Historically, Limited Editions made sense for mediums like lithography and etching, where printing plates degraded with use, and early prints were superior. In photography, however, modern digital processes produce consistently high-quality prints, whether it's the first or the hundredth.

Thus, limiting the number of photographic prints serves no practical purpose - it is purely a marketing invention.

Scarcity can indeed manipulate consumer behavior. Psychological studies show that people value something more if they believe it's scarce (Lalwani et al., Journal of Consumer Research). We saw this in action during the COVID - 19 toilet paper rush - a primitive drive to secure what might soon be unavailable. In photography, galleries tap into this same instinct to justify inflated prices. But this has nothing to do with the art's intrinsic value.

Even Peter Lik, one of the world's highest - grossing photographers, admitted his Limited Edition pricing was more marketing hype than artistic necessity.

The ethical problems with Limited Editions are profound. Artificial scarcity parallels price gouging practices in other industries - pharmaceuticals, energy markets, and even oil cartels have all used supply restrictions to drive up prices.

Why should art - something meant to enrich lives - employ the same tactics?

Notable photographers like Ansel Adams and Edward Weston never limited their editions, yet their work is celebrated and commands respect. Their value derived from their unique vision and exceptional craftsmanship - not contrived rarity.

Brooks Jensen, in What Size Is the Edition?, puts it bluntly: "Limiting the size of the edition is not an artistic question, it is a marketing strategy." This strategy often benefits galleries and speculators more than artists or collectors.

So what makes a photograph truly valuable? Here are the factors I believe matter most:

Limited Editions put up barriers - both to collectors and to the artist.

For collectors, the inflated prices exclude many from owning art they love. For artists, once an edition sells out, they forfeit the chance to continue earning from their creation. Meanwhile, only galleries or secondary market sellers profit from resales.

Daniel Sroka captured it well: "If I limited my editions, this avenue for artistic growth would be shut down. I would legally have to print my photographs at the lesser quality I was capable of when I released the edition, and not at my current level of ability."

Cole Thompson, an acclaimed black and white photographer whom I greatly admire, adds: "Would you rather say your work sold for thousands of dollars, or that your work was in thousands of homes?" That choice defines the artist's philosophy.

Proponents of Limited Editions often tout the secondary market, claiming that collectors benefit when prices rise over time. But this is largely a myth.

With rare exceptions, living photographers see little or nothing from secondary market sales. It is galleries, dealers, and auction houses that reap the rewards, often leveraging hype and exclusivity to exploit buyers and artists alike.

Brooks Jensen points out that limiting editions actually undermines an artist's career: "The higher prices rise, the fewer buyers there will be. This breeds elitism and limits the market for new photographers."

Relating to the future value of photography prints, it has sadly already been demonstrated that the secondary market is a myth for all but those who have passed away.

Offering Open Edition prints aligns with values of accessibility, integrity, and sustainability.

As Daniel Sroka noted: "Whenever I create a new piece of art, I never know which will become my next 'big hit' and sell really well. If I artificially limited the number of pieces I could sell, it would simply limit my opportunity for making a living."

If you still wish to offer some sense of uniqueness, Brooks Jensen suggests alternatives that preserve integrity:

These approaches maintain trust and honesty while allowing the artist to evolve creatively.

By choosing Open Editions, I commit to keeping my art accessible, honest, and authentic. I want my photographs to live in homes and offices - not hidden away in vaults.

Photography is inherently democratic - it can and should be enjoyed by everyone who connects with it.

I strive to ensure each print reflects my highest standards of craftsmanship, and I revisit older works as my skills improve. This ensures you receive the best version of my art, no matter when you purchase it.

No. The value of art is subjective and determined by its impact on you - not by contrived scarcity.

Sometimes, but rarely to the benefit of the artist. Most secondary market gains benefit galleries and resellers, not the creator.

Absolutely. Open Edition prints use the same archival materials, printing processes, and attention to detail as Limited Editions - only without artificial limits.

Some do - but often because they've been conditioned to value rarity over authenticity. Many collectors today appreciate the integrity of Open Editions and value the art for its intrinsic qualities.

Limited Editions may appear appealing at first glance, but they are rooted in outdated traditions, artificial scarcity, and questionable ethics. Open Editions celebrate what art is truly about: sharing emotion, beauty, and ideas without barriers.

Art should be valued for its emotional impact, craftsmanship, and meaning - not for arbitrary limits that benefit only a select few.

I invite you to explore my collection of Open Edition prints, knowing that each piece is offered openly and honestly, designed to enrich lives generously.

Let art inspire you - not because it's rare, but because it's real.

I'm Ilya Genkin - an internationally recognised Australian landscape and fine art photographer based in Sydney. My passion for capturing the beauty of nature and our world translates into striking photographic prints that bring life, emotion, and inspiration to any space. From tranquil seascapes to dramatic mountainscapes, each image is a reflection of my vision and dedication to the art of photography.

Read more about Ilya Genkin

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