Guillaume Simoneau’s approach to photography caught the attention of collectors and critics through his award winning body of work, Love and War, which subtlety documents many things: the practical difficulties of long-distance relationships; the intermediary nature of technology in contemporary society; and the way that war forever changes combatants and the people they love.

In Toronto, we’re fortunate to know Shari Orenstein, an architect and art lover who makes connections between artists and audiences through her fun and informal course, Conversations from the Toronto Art World with the University of Toronto School of Continuing Studies. Shari is Toronto’s ultimate art world insider and she is on a mission to share her knowledge.

For many, the idea of printing and marketing multiples of a work of art is fairly straightforward: Based on interest and demand, artists determine how many copies to produce of a work – known as “the edition” – and then they make those works available to collectors. But in fact, the importance of editioning is essential to organizing an artist’s output, and is necessary to distinguish provenance across collections. As technologies advance, and as artists develop new and interesting ways to present their work, the familiar editioning model is evolving to accommodate individual artist practices. In this Q&A, art dealer Stephen Bulger addresses some of the innovative variations in editioning standards related to photo-based works of art.