Brooks Jensen Arts

A sample full sheet of a single image layout

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Storm Clouds, Capitol Reef, Utah, 2013

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When clouds like these loom up over a grand and glorious landscape, the scale and magnitude of the earth seems overwhelming — and I feel humbled in its presence.

Here is a sample of what the full sheet of a printed image looks like.
Click on the text components at the bottom of the sheet for a pop-up window close-up.

A Word About Editions and Numbering

Many photographers artificially limit the number of prints they will produce from a given negative, offer numbered editions, offer limited editions of a given size of print, destroy their negatives, and many other silly games whose objective is to convince you to buy their artwork and pay more for it. I don't. I won't. Either you like and want to buy my work, or you shouldn't. I make it available; I make it affordable; I then let the chips fall where they may. I have written about this at length in an article published in LensWork in this PDF file.

While it is true that photography is not limited to a finite number of prints from any given negative or digital file, I, however, am. Like all of us, I have a limited amount of both time and energy. In that sense, all artwork is limited simply because the artmaker is. Such is life.

While I don't limit my prints, I do know that a clear and precise provenance is important to some people and may have historical importance long after I am gone. All of my prints now specify the date of their production, the source (negative or digital file) date, and the number of this print in the full edition run. Here is an example of that text.

A typical First Edition, First Printing will be three to five copies, sometimes as few as two, on rare occasions as many as thirty.

Time marches, we change, our creative vision does, too. It is not uncommon for me to see new ways to interpret an old image. I am not opposed to improving an image when I see a need to. Each time I fuss with the digital file, usually to change it a bit to more closely match my creative vision, I call this a new "edition." It's a different interpretation of the raw data, so to speak - a new "performance" in Ansel Adams-speak. Sometimes that might be a little tonal adjustment, sometimes a contrast change, sometimes a dodge here or a burn there, sometimes I'll crop something or digitally remove a bothersome spot, occasionally I go all the way back to the negative and re-scan or back to the original in-camera file and start over. In one way or another, the new "edition" is a new artistic rendition of the image.

Contrary to the contemporary zeitgeist, therefore, the later editions are the ones I would generally consider the more valuable because I perceive them to be the more mature interpretation of the image. Having said that, additional editions may also be a result technology improvements.

The designation "Third Edition, Second Printing" would mean that this is the third time I've worked this image from a creative point of view and the second time I've printed a batch of prints from this third rendition. The print numbers are simply a count of the total number of prints I've made of this image so far, and how many prints I've made from that digital file on any given day.

I produce and sell my prints on a first-come, first served basis. Orders are filled in Edition/Print Number order. Obviously, editions are not reprinted except where identified as a later printing.

I also reserve the right to withdraw from sale any image at any time.