Do You Sell Originals, or Reproductions?

In the last entry in the “Photographing Art” series, Don’t Bother With Image Protection, I covered some reasons why I think that allowing images of art work to be freely shared isn’t necessarily a bad thing. Some people want to photograph art, or download images of art, and for artists dealing with one-of-a-kind images, like painters, the benefits of this infringement can outweigh the risks.

The last entry was rather one-sided, however. Freely allowing copies isn’t going to be beneficial in all situations. If you are in the selling reproductions business, file sharing has the potential to eat away at sales. I can sympathize with this. I have made money licensing images for prints myself. As a struggling artist, I know that every source of income, no matter how small it might seem, is very significant.

How many image makers are in the business of selling reproductions? Photographers certainly are, but I believe that it is important for artists to decide on the main focus of their practice: are they about selling originals, or selling reproductions.
If you are in the business of selling reproductions, this series is probably not for you. If you are more interested in selling originals, please come with me as I take you through the weird world of infinite goods.
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Why Reproductions Are Good for Art

Lately, I’ve spent a lot of time talking about why art can’t be photographed.
In this entry, I will ignore the issue of copyright, and taking pictures of art directly. Instead, I will talk about the reproduction of art in general. I will explain why I do not think that the reproduction of artworks is a bad thing. In fact, I will be arguing why I think that reproducing art is actually a very good thing.

Before I go forward with this argument, I would like to go back. Way back.
In the 1935 essay “Art in the Age of Mechanical Reproduction”, Walter Benjamin wrote about the mechanical reproduction of art, and the damaging effect this had on tradition and value. Reproduction was seen as a threat to the authenticity of a piece of art. He made use of the word “aura” to describe this value.
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