Introduction | p. 6 |
What is fine art photography? | p. 8 |
Characteristics of a fine art print | p. 13 |
Choosing black and white or colour | p. 14 |
Subject matter | p. 16 |
Pricing | p. 19 |
Case studies | p. 20 |
Andy Small | p. 22 |
Tim Flach | p. 26 |
Phil Bard | p. 30 |
Iain Stewart | p. 34 |
Thomas Kellner | p. 38 |
Photographic festivals | p. 42 |
Presentation | p. 44 |
Different approaches | p. 47 |
Printing your own work | p. 47 |
Profile: Adrian Ensor | p. 48 |
The black-and-white approach | p. 51 |
Vintage printing techniques | p. 52 |
Profile: Randall Webb | p. 52 |
Profile: Allan Jenkins | p. 54 |
Popular processes | p. 57 |
Polaroid processes | p. 59 |
Creative techniques | p. 60 |
Profile: Jack Perno | p. 64 |
Modern methods | p. 66 |
Digital versus silver halide | p. 69 |
Choosing a printer | p. 70 |
Archival methods | p. 73 |
Print longevity | p. 74 |
Accurate colour | p. 77 |
Working with inkjet | p. 77 |
Profile: Ian Cartwright | p. 78 |
Print variations | p. 81 |
Profile: Dan Burkholder | p. 81 |
Postcards | p. 83 |
Profile: John Claridge | p. 84 |
Finishing | p. 86 |
Getting the presentation right | p. 88 |
Archival considerations | p. 88 |
The signature | p. 88 |
Framing | p. 89 |
Bespoke framing | p. 90 |
Selling your work | p. 92 |
Gallery representation | p. 95 |
The gallery view | p. 97 |
Type of gallery | p. 98 |
Self-help | p. 101 |
Profile: The Lupe Gallery | p. 102 |
Relationships | p. 106 |
Profile: Roderick Packe | p. 108 |
Selling your own work | p. 110 |
Exhibiting | p. 113 |
Local shows | p. 114 |
Is it worth it? | p. 117 |
Self-promoted exhibitions | p. 118 |
Publicising the event | p. 120 |
Craft and art fairs | p. 122 |
General markets | p. 125 |
Profile: Aldo Cervato | p. 126 |
Building a website | p. 129 |
Profile: Andy Small | p. 130 |
Gallery | p. 132 |
Index | p. 158 |
Acknowledgements | p. 160 |
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