About Pete Myers' pricing, & how we might think about our own: As was mentioned above, at one level it's insulting to say to an artist that your work just isn't worth it. But at another, it's reasonable for artists - Pete & us - to stay in some sort of touch with the 'real' art market, however diverse & quirky it is.
At one level, Pete seems to be offering something quite reasonable - Open Edition 15" 'archival' prints for $545. That has to be OK with me, because it's about what I charge. I hope some of us can do even better.
Beyond that, it's certainly true that many prints sell for $35K - & lots more.
But first of all we have to leave aside the grand old dead folks, whose works are by definition Limited Editions.
Among contemporary artists, it's not uncommon for some to command $35K & up for large prints - though we mustn't forget that an art dealer is involved, showing the work to prospective collectors & taking a hefty percentage on sales. Gursky & Misrach are a couple of examples of photographers who command enviable prices for limited editions of their board-room-sized prints.
Here, however, are some differences. Your average $35K-per-print photographer, instead of working off the Internet, is represented by major art dealers & galleries. His or her work has been shown in the most prominent venues in NY, LA, SF, Chicago, Houston - not to mention Europe & Asia. Their images have been acquired for the collections of major museums. They have been favorably reviewed by recognized critics here & abroad. And the editions are almost always limited, not open, so the purchaser is guaranteed that the print is a rather rare commodity.
Commanding such prices may be a matter of faddishness, or of getting hooked up with trendy galleries in what's almost a pyramid scheme. Admittedly the art market is an odd place, a sur-reality. But occupying a high-priced place in it isn't just something we can wish upon ourselves.
Where do people like Pete & us fit into this world? Dear reader, take a look at the Myers website to see the work itself, where it's exhibited, & who has reviewed it. We can all reach our own gentle conclusions about art-market facts & fantasies. And we can also all hope that someone will fall in $35K worth of love with our biggest print. There's no harm, if not much realism, in wishing or even trying.