Collection Parameters
So far, 'Covering Photography' has been limited by the same factors that drive it; i.e, my knowledge and recollection of photographers and photographic history. If I'm not aware of it, chances are it won't be found in the collection. And that is one reason why I'd like this site to be interactive: input -> information -> insight.
In my ideal, fantasy scenario, one could, given the inclination, haul the entire 'Covering Photography' collection of books into a large gallery space, hang them on the wall like photographs, and have a respectable, reasonably comprehensive representation of the history of photography. Naturally, the collection has it's strengths and weaknesses: It is considerably stronger, for example, in twentieth century photography than in nineteenth century photography, and it consists almost entirely (but not completely!) of work by American and European photographers. I hope and expect that, given time, these deficiencies will be remedied. That being said, the point needs to be stressed that this is not a 'completist' collection. Even if one begins in the 1950's, when photographs began to more regularly appear on book covers, hundreds of millions of books have been published around the world, and millions more come out every year. The use of 'notable' photographs on book covers has increased significantly in recent years, and it would be impractical, if not impossible, to locate them all.
Which leads me to the topic of how books are selected. After all, there are tens of millions of photographic book covers out there, and... well, as Walker Evans paraphrased Matthew 22:14, I will paraphrase Walker Evans, and say that many are called, but relatively few are chosen. Most of the photographers listed on this site are obvious picks; accomplished and well-known, at least to other photographers and those whose job it is to know such things. It is with younger and more contemporary image-makers that decisions become more subjective. Most, though not all, of the photographers in this collection have had at least one monograph of their work published, and have appeared in several anthologies. Others may not be as fortunate, but I've been aware and admiring of their work for a number of years. And sometimes, although it is comparatively rare, I simply like the photo on the cover, and think it fits in well with the rest.
Every collection is defined as much by what is not included as by what is. In the case of 'Covering Photography', I am primarily interested in mass-market, trade editions of books; not limited editions or livres d'artistes. The collection purposely does not include, for example, original editions of H. G Wells' 'The Door in the Wall' (illustrated by Alvin Langdon Coburn), Hart Crane's 'The Bridge' (illustrated by Walker Evans), or Arthur Rimbaud's 'A Season in Hell' (illustrated by Robert Mapplethorpe). On the other hand, the Swallow Press paperback of Anais Nin's 'House of Incest' (Illustrated by Val Telberg) is included, largely because it was produced to reach an audience larger than the few wealthy collectors targeted for a limited edition.