The Portland Metro Photographic News

by Tom Hubbard, September 21, 2009

If you thought having your work accepted for exhibition was tough, wait until you try to get a consensus on how to sign your prints.  I've been researching this article for three weeks.  During that time, I talked with noted exhibiting photographers, sought the advice of gallery owners, visited dozens of exhibitions and asked the opinions of two authors of books on the subject of photographic printing and printfinishing.  I have seen pictures signed in every imaginable way and with nearly every writing implement on the market.

Here are a few examples of the different signature placements I found.  (I have blurred the names to safeguard the photographers' privacy.)

Above: No title, signature placed in lower right using pencil on the inner of two mats.

Above: No title, signature place in lower right using pencil on the surface of the print

Above: No title, signature and date plced in lower right on the surface of the print

Above: Print title on left with name and date on right using pencil.  Both printed on the print mat.

Above: No title, signature, date and edition number printed on the black mat in lower right

Above: No title, signature and edition number in lower right corner of floating print

What I quickly learned was that there are no established rules for signing prints.  More often than not, the placement and content of the signatures appearing on collectable photographic art is determined by the personal preferences of the individual photographer.

However, this doesn't mean that galleries and collectors don't have preferences.  Galleries speak on behalf of their collecting customers.  So their suggestions on "best signature practices" should be considered to maximize the value of your photographic art in the eyes of collectors.

The following guidelines are compiled from the thoughts and suggestions of Portland's Blue Sky Gallery, Froelick Gallery and Charles A. Hartman Fine Art Gallery as well as Andrew Darlow, exhibiting photographer, founder of The Imaging Buffet and author of "301 Inkjet Tips and Techniques".

-  Do not sign in the image area of a print (as is customary with a painting)

-  Do sign the print in one of these locations:

     - On the non-image area of the front of the print (most typically in the lower, right-hand corner. 
        This is the most preferred location by the majority of our experts.  Over-matting the finished print.

         by about 1/2 inch, provides room for a signature and keeps the mat edge away from the print

        area to minimize leaching between the mat and the print.

     - On the back of the print, but outside the image area

     - On the back of the mount board if the print is permanently affixed to the mounting board

- Do not sign on the matt UNLESS the picture is permanently affixed to the mat.

- Use ink or soft pencil - both are used equally often.

- Suggested placement of signature content:

     - The limited or open edition print number: lower left corner?

     - Title: center

     - Photographer's signature and date: lower right corner (If you date your pictures, many

        photographers include the date in this signature location.)

-  Be consistent.  Determine your style and stick with it.

The warnings above concerning signing on a mat dry-mounted to the print addresses collectors' concerns that a loose mat can be changed or lost.  A loose mat or backing board is not considered a permanent, integral part of the art work.

Canvas prints are becoming increasingly popular with galleries and collectors. Many of Andrew Darlow's images are exhibited as large, stretched canvas prints, and he recommends signing the print on the portion of canvas that is stretched around the edge of the frame as shown above.  (This is one exception to never signing on the image surface.)

We all enjoy the time spent taking pictures.  It's the moment when our creative juices flow and our passion for photography shines.  Many of us consider post-processing an equally rewarding part of photography.  Whether working in a wet or digital darkroom, it's here that we make our vision a reality and enjoy the satisfaction of controlling the photographic process from beginning to end.  However, few of us look forward to the matting, mounting, framing, Certificate of Authenticity and signing activities that consume our time in print finishing.

But don't short change the importance of this final stage of print making.  The result of these print finishing chores creates the "first impression" and often provides the "make or break" detail in a print sale. Being aware of the finished print characteristics which are important to our collecting customers provides subtle clues to your professionalism and care for your imagery, and will serve you well.

Harald Johnson of DP&I.com cites Joel Meyerowitz and Albert Watson as excellent examples of the importance photographers place on the signature content of the prints they sell.  Joel is the consummate street photographer and is known for recording detailed notes when he is shooting.  He makes a habit of including information from these notes as part of his signature contents on the back of his prints.  To the collector, the image takes on added meaning (and value) through Joel's description of the shooting event.

Albert Watson makes extensive use of aluminum as the mounting surface for his prints.  Aluminum provides a durable and absolutely flat surface for mounting his images and his signing location.  He cuts a small window in the back of the frame construction in order to reveal his signature on the back of the aluminum mounted print.

The signature styles of these two famed photographers certainly vary, but they do emphasize the care and importance each places on their signatures as they consider the impact and value this finishing touch has on collectors of their work.

With guidelines in place for "how to sign your picture", the question becomes: "What device do I use for signing my print?"  Many photographers select a soft pencil for this task. Pencil signatures work well. They do hold the potential of smudging. This fact, combined with the clarity and permanency offered by ink pens, leads many photographers to select ink markers.

Harald Johnson, editor of DP&I.com digital printing website and author of "Mastering Digital Printing" has conducted an informal test, using various ink markers, which sheds some light on using ink for your print signature.  His test and conclusions are the focus of the second part of PMPN's print signing series.  Read Harald's "Guest Commentary" article.  Click HERE for Harald's article.