As a gallery owner, Johnson is challenging the multiple size, multiple price, multiple edition model used by other sellers of fine photography. Each photograph is offered only in the size originally envisioned by the artist. And edition sizes are not limited in an attempt to arbitrarily create “value.”
For my recent article on art collecting, I asked Peter to tell me more about Captured Global.
For my recent article on art collecting, I asked Peter to tell me more about Captured Global.
Tell me more about Captured Global's approach to selling art photography.
PJ: Our goal is to create the "go to" portal for extraordinary photography at a great price, to inspire a new generation of collector, and to help propel the careers of our artists. We currently offer the work of photographers from around the world. Some show exclusively with us while others may have other work represented elsewhere. The size and price of each image we offer however, is exclusive.
I dig deep to find intelligent and culturally relevant work worthy of private and public collections.
You'll find the work of young emerging photographers side by side with established masters whose work is found in private and public collections around the world including SFMOMA, The Getty Museum, the Scottish Museum and National Gallery in Prague among others. At Captured Global, the images, the artists and the story are our centerpiece and we deliver great value for nearly anyone's pocketbook.
Are you a photographer yourself?
PJ: Yes, I'm a photographer who aspires to the level of talent of those we represent!
Photographs are telling of our time and the vernacular in which our photographers interpret the world is incredibly rich, diverse, compelling and exciting.
One reason interest in art photography is so high is because it is the only art form created by millions of people every day. All around the world, people are capturing, manipulating and sharing images instantaneously.
Now that everyone is a photographer, our job is to advance the art of collecting by sharing the work of our artists in ways that are fresh, exciting and culturally relevant.
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| Captured Global: Simon Vahala, Tourists, Alhambra, Spain, 40 x 40 in. |
You'll find the work of young emerging photographers side by side with established masters whose work is found in private and public collections around the world including SFMOMA, The Getty Museum, the Scottish Museum and National Gallery in Prague among others. At Captured Global, the images, the artists and the story are our centerpiece and we deliver great value for nearly anyone's pocketbook.
Are you a photographer yourself?
PJ: Yes, I'm a photographer who aspires to the level of talent of those we represent!
Photographs are telling of our time and the vernacular in which our photographers interpret the world is incredibly rich, diverse, compelling and exciting.
One reason interest in art photography is so high is because it is the only art form created by millions of people every day. All around the world, people are capturing, manipulating and sharing images instantaneously.
Now that everyone is a photographer, our job is to advance the art of collecting by sharing the work of our artists in ways that are fresh, exciting and culturally relevant.
What kind of feedback have you been getting from photographers and collectors since the site was launched?
PJ: Since our approach is a bit contrary to the status quo, it's been an enlightening conversation with both photographers and collectors.
For many artists, it's difficult to break into the gallery scene, so we present a very intriguing option to the typically higher priced, limited editions that galleries establish in an effort to create and control demand. For the one photographer picked up by a gallery, there are hundreds of others producing extraordinary, collectible images.
Do most photographers support open editions?
PJ: Yes, because they want as many people as possible to enjoy their work. And it's interesting, because as a collector, I have never thought "Oh, I love that piece because it's one of only five in the world." Let alone 50, 100, 250, 500, 1000 or even more, which some editions are! When you think about it, it shouldn't matter how many prints are in circulation, because you should be buying work because you love it and will enjoy it every day.
While limited editions were created as a means to establish urgency and "future value," the strategy only works if the edition sells out and returns as a resale on the secondary market. But take a look around at gallery sites on the web and you'll find limited editions all over the place, of images dating back 10, 20, 30 years - and they're still not sold out!
In fact many famous photographers like Ansel Adams, Henri Cartier-Bresson and Julius Shulman offered images as open editions, many of which holding tremendous monetary value today.
As a collector, would you be more motivated to buy a one-of-a-kind print?
PJ: Not necessarily. If it's a one of a kind that I love and can afford, then sure I would consider buying it. At Captured Global, we're all about getting as many images as possible into the hands of as many collectors as possible. It's a win-win for both artists and collectors. When you buy an open edition, you have no idea how many prints of that image are actually in circulation - it could be five or 5,000. But that should have have no bearing on "future value" because it's highly unlikely that prints priced between $50 and $1,500 are going to come onto the secondary market anyway, regardless of how many are out there.
PJ: Not necessarily. If it's a one of a kind that I love and can afford, then sure I would consider buying it. At Captured Global, we're all about getting as many images as possible into the hands of as many collectors as possible. It's a win-win for both artists and collectors. When you buy an open edition, you have no idea how many prints of that image are actually in circulation - it could be five or 5,000. But that should have have no bearing on "future value" because it's highly unlikely that prints priced between $50 and $1,500 are going to come onto the secondary market anyway, regardless of how many are out there.
What comes with the purchase of an open edition, potentially with many other collectors, is the knowledge that you're really helping an artist grow their business.
And that's good. Volume sales at say $350 as an open edition is much more sensible than few, if any, sales at say $1,500 as a limited edition that may never sell out - a scenario that happens more often than a gallery may like to admit. This certainly doesn't help the artist.
That said, nothing replaces the relationship between artists working at the very highest levels and their top-tier galleries. They establish the benchmarks in the marketplace and cater to a clientele more inclined toward "investment" purchases.
It is with great pleasure that we've been given the opportunity to work with such talented artists, whose belief in our unconventional approach to the value of photography as a collectible art form, has together, made us agents of change.on sizes are not limited in an attempt to arbitrarily create “value.”
What does the future hold for Captured Global?
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| Captured Global: Norbert Hayo, Charles Baudelaire, 20 x 24 inches |
What does the future hold for Captured Global?
PJ: While Captured Global is an online experience, so to is our commitment to bringing the Captured Live! experience to cities around the world, propelling the art of photography in a connected world. We will be integrating technology as a complement to viewing original photographs in person.
As the world becomes more dependent on connectivity, we never want to lose site of the innate value of the printed image.
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