Tips丨影像收藏入门指南

Most black and white photographs are printed asgelatin silver prints， most contemporary color prints are chromogenic prints. You will see a variety of paper types and techniques at the fair and one is not seen as superior to the other， they are simply used to achieve different effects.

© HANS OP DE BEECK, Staged Exterior (forest) (black and white), 2018. Courtesy of GALLERIA CONTINUA (San Gimignano, Beijing, Les Moulins _ Havana)

© GIOVANNI OZZOLA, Solamente tu ed io, 2017. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins _ Havana)

照片通常是按版制作的，也就是说，它们是有编号的。展览会上大多数作品的版数都不会超过25。艺术家可以自行决定作品有多少版，这也就意味着版数可能会有3、8、20不等。不过，艺术家始终会尊重作品的版数，版数也由其画廊控制。

如果作品没有版数或编号，这很可能是因为在作品面世之时，版数还没有成为行业标准做法。一个很好的例子是亨利 · 卡蒂埃-布列松，他的照片就没有版数。当代摄影师的照片总是按版制作的，业内的共识是版数越少，作品越抢手，因此平均而言，价值会高于版数高的作品。

需要记住的是，随着版本的销售，作品变得更加稀缺，因此价格可能会上涨。一定要问一问画廊他们是如何定价的，以便了解您正在考虑的照片价值。艺术家自存版 - 艺术家自存版指的是艺术家制作的第一版作品，通常非常抢手，很难获得，因为它们是版本中最初的作品。

Photographs are usually from an edition - that is - they are numbered. Most photographs at the Fair will not exceed 25. It is up to the artist to edition their works as they see fit. This means editions can vary from editions of 3， 8， 20 etc. However， the editions are always respected by the artist and controlled by their gallery. If a work is not editioned or numbered， it was most likely made at a time when editioning had not yet become an industry norm. A good example of this is Henri Cartier-Bresson， who did not edition his prints.

Contemporary photographers always edition their prints and it is understood in the industry that smaller editions are more desirable and therefore on average，

more valuable， than prints from a larger edition. An important thing to remember is that as an edition is sold the price may go up as it becomes a scarcity. Do ask the gallery how they stagger the pricing so that you understand the value of each print you are looking at. Artist Proof - Artists’ Proofs are the first works the artist made in the edition. These are often very desirable and rare to come by as they are the first prints made in the edition

© ZHANG DALI, Demolition – World Financial Center, 1998. Courtesy of Pékin Fine Arts Gallery (Beijing & Hong Kong)

© ZHAO LIANG, Black Face, White Face, 2014. Courtesy of Pékin Fine Arts Gallery (Beijing & Hong Kong)

有些摄影师只为每张图片印刷一版，或者在图像上加入文字、油漆、金箔等元素，使得每张印刷照片都是独一无二的。影像上海艺术博览会展出了许多独版作品，JimGoldberg（玛格南图片社，伦敦）、荒木经惟（Taka Ishii画廊，东京和纽约）以及胡介鸣（香格纳画廊，上海、 北京和新加坡）的作品就是很好的例子。

Some photographers only make one print per image or work onto the image with text， paint， gold leaf etc which makes each print a unique art work. PHOTOFAIRS presents a lot of unique prints and good examples of this can be seen in the work of Jim Goldberg （Magnum Photos， London）， Nobuyoshi Araki （Taka Ishii Gallery， Tokyo & New York）， and Hu Jieming （ShanghART Gallery， Shanghai， Beijing & Singapore）

© CHEN XIAOYUN, You are the specific moment for this, 2013. Courtesy of ShanghART Gallery (Shanghai, Beijing, Singapore)

© CHEN WEI, In the Waves #3, 2013. Courtesy of ShanghART Gallery (Shanghai, Beijing _ Singapore)

“早期原作”指的是摄影师在作品拍摄之年印出的作品。这种说法更常见于黑白摄影作品，但也适用于显色印刷和其他的彩色打印作品。“日后印刷”指的是在艺术家去世之后印出的作品，这一信息通常会显示在所有作品标题中。安塞尔· 亚当斯的作品就是很好的日后印刷的例子。

‘Vintage’ denotes a print printed by the photographer in the year it was taken. This is a term often seen with black and white photography but can also apply to chromogenic prints and other color prints. ‘Printed Later’ means that the image was printed after the artist's death and this is usually shown in all captions. A good example of a work printed later can be found by the artist Ansel Adams.

© ZHANG KECHUN, Dai Mount, 2018. Courtesy of Three Shadows + 3 Gallery (Beijing & Xiamen)

© KECHUN ZHANG, 上海君越酒店 2018. Courtesy of Three Shadows + 3 Gallery (Beijing _ Xiamen)    

画廊并不一定要提供状况报告。一些较老的作品很可能已经出现了磨损和折痕，因此，这些状况问题已经成为了作品本身的一部分，而非它的缺陷。不过，任何大幅的彩色当代作品都应该处于良好的状况，不应出现任何问题。这也是博览会对展出作品所要求的标准。

Condition reports are not necessarily provided by the gallery. Wear and tear is expected with older prints so the condition ‘issues’ become a part of the print， rather than a hindrance. However， any large format color contemporary work should be in excellent condition and should not show any issues. These are standards that are ensured at the fair.

© YANG FUDONG, The Light That I Feel 1, 2014. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore)

© YANG FUDONG, The Light That I Feel 8, 2014.  Courtesy ShanghART Gallery (Beijing, Shanghai _ Singapore)

来源涉及到作品是从何而来的。想要了解作品出自于哪位艺术家之手，或作品的真伪，您可以注意寻找艺术家签名或盖章。另一方面，就价值而言，来源是很重要的。例如，作品是否曾被重要收藏家或一流美术馆收藏过？如果是，那么这将增加作品的价值和关注度，买者会愿意支付更多。这是以投资为目的的买家可以考虑的，在这方面很好的例子就是罗伯特·梅普尔索普 （Galerie Thaddaeus Ropac） 的作品，他曾在2017年的美术馆展览中展出过。

Provenance relates to where the print is coming from. In terms of the artist and authenticity look for a signature or artist’s stamp. On the other hand， in terms of Value， provenance has a significant effect for example， was the print once owned by an important collector or a leading Museum? If so， this will add to the desirability and value of the print and people will pay over the odds for this. This is interesting to consider when buying photography as an investment and good example of this is the work of Robert Mapplethorpe （Galerie Thaddaeus Ropac） who was featured in museum shows in 2017.

© HIROSHI SUGIMOTO, The Florence Baptistery from _Gates of Paradise_ series, 2017. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins, Habana)

© YANG YONGLIANG, Time Immemorial Old Pine, 2016, Courtesy of Matthew Liu Fine Art (Shanghai)

在摄影领域，数字处理是一个颇具争议性的话题。但实际上，它与过去作品中采用的燃烧或蒙太奇等处理技法并没有什么不同，数字处理不会影响作品的价值，也并不意味着使用这种方式的艺术家低人一等。

There is a lot of debate around digital manipulation in photography but it really is no different from the manipulation techniques like burning or montage used in more historical works. This won’t have an impact on the value of the work and it doesn’t make an artist ‘less’than one that doesn’t use digital manipulation.

© FENG LI, Peach Blossom 2016.  Courtesy of A Thousand Plateaus Gallery (Chengdu)

© PIXY LIAO，Kiss Exam, 2015. Courtesy of Chambers Fine Art (New York&Beijing)

二级市场由拍卖行或经销商建立，即一件作品已经被一个或多人经手之后才进行出售。

The market created by the auction houses or dealers i.e. A work which has been owned by one or more people before it came up for sale.

© CHAN DICK, Day 3 (Chai Wan Fire Station series), 2014. Courtesy of Novalis Contemporary Art (Hong Kong)

© YUKI TAWADA, PD (Shanghai). Courtesy of rin art association (Takasaki)

画廊给您的报价通常不包括增值税和运输费用。当代艺术作品的装裱有时已经包含在售价内，但建议跟画廊确认一下。

Prices quoted to you by galleries will not usually take into account VAT and shipping costs. Framing on contemporary works is sometimes included in the price，but it is always good to check.

© HENK VAN RENSBERGEN, Haruki.  Courtesy of Galerie DUMONTEIL (Shanghai, Paris _ New York)

© KELVIN KYUNG KUN PARK, A Dream of Iron_ Head, 2013. Courtesy of Vanguard Gallery (Shanghai)

与其他艺术作品一样，您需要考虑作品悬挂的环境，不仅仅考虑美观，也需要确保作品得到了很好的保存。虽然照片不一定很脆弱，但毕竟是纸上作品，而纸张对光损伤很敏感。因此，您应该始终考虑作品保存/悬挂的位置。一般情况下，照片不应悬挂在阳光直射的地方。如果您的照片是开放式安装的（即有框架但没有玻璃），请务必不要将作品悬挂在走廊或可能意外划伤作品的地方。

Like with any art work you need to consider the environment the works are hung in not only in terms of aesthetics but also to ensure they are looked after. Photographs aren’t necessarily fragile but they are works on paper and that paper is sensitive to light damage so you should always consider where you are storing/ hanging your works. In general photographs should never be hung in direct sunlight. If your print is open-mounted （framed without glass） then make sure it isn’t hung in a hallway or an area where the print could get scratched by accident.

© ZHANG XIAO, Shanxi No.2, 2007. Courtesy of A Thousand Plateaus Art Space (Chengdu)

© JULIAN ROSEFELDT, Manifesto (Kazimir Malevich, 1916), 2015-2017. Courtesy of König Galerie (Berlin&London)

（本文资料由 PHOTOFAIRS 提供）