Daryl Baird on tue 13 mar 01
Since my post sort of started it, I thought I might wade in on this subject
after hearing from Vince, Mel and, most particularly, Phil Rogers.
For the most part I agree with the positions stated. Most of the
compensation from having your photos published is of the intangible sort.
But, while the comps aren't in cash, they are nevertheless real.
I was very pleased to hear from many of those who contributed to my book
about how the book helped them. They showed the books to family and friends
to lend credibility and some justification to they're decision to be an
artist. One artist used the book as part of a 25-year retrospective
showcasing his work. He sent me photos of the exhibit.
In his post on the subject, Phil stated, "I have a rule when it comes to
asking for slides for a book. I never ask unless I am sure that I will use
at least one. (Unless the quality of the slides are so poor they are
unusable which has never happened to me yet). This idea of advertising for
slide submission for possible selection for use in a book stinks. I would
be so embarrassed to have to return slides to someone only to have to tell
them that their work didn't come up to scratch. It's wrong and shouldn't be
done. Imagine putting someone to a great deal of trouble and expense only
to reject them. I can't believe a potter would do that to another potter. I
always know the work of whoever I ask and the decision as to whether they
will be in the book is taken before an approach is made."
I respectfully disagree with Phil's position. Since I don't know everyone
who submits slides to me, and I certainly don't know their work beforehand,
I can't guarantee that their photos will be published. I don't give
contributors any false assurances that their photos will be published. I
provide clear instructions about how to submit the photos and caution that
the photos must be of the highest quality.
Knowing that his/her photo was selected for publication, and that all the
photos submitted weren't selected, should give the artist a sense of
special inclusion. They accomplished something that many others did not.
That's one of those intangible benefits I mentioned above.
By using Clayart as one means of announcing my call for slides, I reached
contributors all over the world. Many of these people were emerging artists
whose work had never been publishedbut who made work that, in my opinion,
needed to be seen.
Given the quality of his books, Phil's approach is valid. But I think there
are other ways to go about compiling material for a book that are equally
valid.
Daryl Baird
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