In 1881, Alfred Stieglitz went to Berlin to study mechanical engineering and met Hermann Wilhelm Vogel whose experiments with orthochromatic emulsions and active role in photographic societies convinced Stieglitz to pursue in photography. In 1890, Stieglitz decided to pursue a life as an independent medium. His role was as a “choose one” guiding his people out of the slavery of old practices. Stieglitz desired to produce a major exhibition reflecting the principal pictorialist concerns that stressed elaborate printing processes, post-camera manipulations, atmospheric effects, and the tonal values of the image over the subject matter. This exhibition was unable to make. He was making a new group of photographers that would be known as the Photo-Secession founded in February 17, 1902. He favored presenting individual artist portfolios by means of photogravure on thin Japanese paper, tipping the pictures in on brown or gray sub-mounts. In 1905, Stieglitz took out a lease at 291 Fifth Avenue, giving the group a permanent exhibition and operations center. In 1900, Stieglitz became a leader of the Camera work exhibition after the competition with Fred Holland Day. Clarence Hudson White came to the attention of Stieglitz and they both collaborated on a series of nude studies and, later, with the Autochrome process. In November 1910, the Albright Art Gallery in Buffalo, NY, presented the International Exhibition of Pictorial Photography, organized by Stieglitz to sum up pictorial photography. By the time of Buffalo exhibition, the group Stieglitz had founded and the style in championed had ceased to interest him and was disintegrating. He then turned his attention to modern art which he began to present in Camera Work, and he presented only one photography show, of Paul Strand during the last four years of “291”. Stieglitz reconsidered photography’s position, not as it related to painting but on its own inherent characteristics. He...
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