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8/3/2019 Pictorial Photography by Alfred Stieglitz
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Stieglitz: Pictorial Photography
"Pictorial Photography," by Alfred StieglitzScribners Magazine, 1899 Explanations
and Questions
Aboutten
years
ago
the
movement
toward
pictorial
photography
evolved
itselfoutoftheconfusioninwhichphotographyhadbeenborn,andtook
adefiniteshapeinwhichitcouldbepursuedassuchbythosewholoved
artandsoughtsomemediumotherthanbrushorpencilthroughwhichto
giveexpressiontotheirideas.Beforethattimepictorialphotography,as
thetermwasthenunderstood,waslookeduponasthebastardofscience
andart,hamperedandheldbackbytheone,deniedandridiculedbythe
other.Itmustnotbethoughtfromthisstatementthatnoreallyartistic
photographicworkhadbeendone,forthatwouldbeamisconception;
butthepointisthatthoughsomeexcellentpictureshadbeenproduced
previously,therewasnoorganizedmovementrecognizedassuch.
Letmeherecallattentiontooneofthemostuniversallypopular
mistakesthathavetodowithphotographythat ofclassing
supposedlyexcellentworkasprofessional,andusingthetermamateur
toconveytheideaofimmatureproductionsandtoexcuseatrociously
poorphotographs.Asamatteroffactnearlyallthegreatestworkis
being,andhasalwaysbeendone,bythosewhoarefollowing
photographyfortheloveofit,andnotmerelyforfinancialreasons.As
thenameimplies,anamateurisonewhoworksforlove;andviewedin
thislighttheincorrectnessofthepopularclassificationisreadily
apparent.
The meaning ofamateur
Pictures,even
extremely
poor
ones,
have
invariably
some
measure
of
attraction.Thesavageknowsnootherwaytoperpetuatethehistoryof
hisrace;themosthighlycivilizedhasselectedthismethodasbeingthe
mostquicklyandgenerallycomprehensible.Owing,therefore,tothe
universalinterestinpicturesandthealmostuniversaldesiretoproduce
them,theplacinginthehandsofthegeneralpublicameansofmaking
pictureswithbutlittlelaborandrequiringlessknowledgehasof
necessitybeenfollowedbytheproductionofmillionsofphotographs.It
isduetothisfatalfacilitythatphotographyasapicturemaking
mediumhasfallenintodisreputeinsomanyquarters;andbecause
therearefewpeoplewhoarenotfamiliarwithscoresofinferior
photographsthepopularverdictfindsallphotographersprofessionals
orfiends.
Pictures as a typeof visualrepresentations
Photographs area type of picture
What is this fatalfacility?
Nothingcouldbefartherfromthetruththanthis,andinthe
photographicworldtodaytherearerecognizedbutthreeclassesof
photographerstheignorant,thepurelytechnical,andtheartistic.To
thepursuit,thefirstbringnothingbutwhatisnotdesirable;thesecond,
apurelytechnicaleducationobtainedafteryearsofstudy;andthethird
bringthefeelingandinspirationoftheartist,towhichisadded
Art-photography ismore than merepicture making.But why?
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Stieglitz: Pictorial Photography
afterwardthepurelytechnicalknowledge.Thisclassdevotethebest
partoftheirlivestothework,anditisonlyafteranintimate
acquaintancewiththemandtheirproductionsthatthecasualobserver
comestorealizethefactthattheabilitytomakeatrulyartistic
photographisnotacquiredoffhand,butistheresultofanartistic
instinctcoupledwithyearsoflabor.Itwillhelptoabetter
understandingofthispointtoquotethelanguageofagreatauthority
onpictorialphotography,onetowhomitowesmorethantoanyother
man,Dr.P.H.Emerson.Inhiswork,NaturalisticPhotography,hesays:
Photographyhasbeencalledanirresponsivemedium.Thisismuchthe
sameascallingitamechanicalprocess.Agreatparadoxwhichhasbeen
combatedistheassumptionthatbecausephotographyisnothandwork,
asthepublicsaythoughwefindthereisverymuchhandworkand
headworkinitthereforeitisnotanartlanguage.Thisisafallacyborn
ofthoughtlessness.Thepainterlearnshistechniqueinordertospeak,
andheconsiderspaintingamentalprocess.Sowithphotography,
speakingartisticallyofit,itisaveryseverementalprocess,andtaxesall
theartistsenergiesevenafterhehasmasteredtechnique.Thepointis,whatyouhavetosay and howto say it. Theoriginalityofaworkofart
referstotheoriginalityofthethingexpressedandthewayitisexpressed,
whetheritbeinpoetry,photography,orpainting.Thatonetechniqueis
moredifficultthananothertolearnnoonewilldeny;butthegreatest
thoughtshavebeenexpressedbymeansofthesimplesttechnique,
writing.
Stieglitz quotesPeter HenryEmerson (1856-1936), whodefended realismand attackedcompositephotography(assemblingimages fromdifferent sources)
Content (subjectmatter) isdistinguished fromits mode ofexpression
Intheinfancyofphotography,asappliedtothemakingofpictures,itwas
generallysupposedthataftertheselectionofthesubjects,theposing,
fighting,exposure,anddevelopment,everysucceedingstepwaspurely
mechanical,requiring
little
or
no
thought.
The
result
of
this
was
the
inevitableoneofstampingoneverypicturethusproducedthebrandof
mechanism,thecrudestiffnessandvulgarityofchromos,andotherlike
productions.Withinthelastfewyears,orsincethemoreseriousofthe
photographicworkersbegantorealizethegreatpossibilitiesofthe
mediuminwhichtheyworkedontheonehand,anditsdemandsonthe
other,andbroughttotheirlaborsaknowledgeofartanditsgreat
principles,therehasbeenamarkedchangeinallthis.Lens,camera,plate,
developingbaths,printingprocess,andthelikeareusedbythemsimply
astoolsfortheelaborationoftheirideas,andnotastyrantstoenslave
anddwarfthem,ashadbeenthecase.
Can aphotographercontrol how thesubject matter is
expressed?
Artists expressideas
Thestatementthatthephotographicapparatus,lens,camera,plate,etc.,
areplianttoolsandnotmechanicaltyrants,willeventodaycomeasa
shocktomanywhohavetacitlyacceptedthepopularverdicttothe
contrary.Itmustbeadmittedthatthisverdictwasbaseduponagreat
massoftheevidencemechanicalprofessionalwork.Thisevidence,
however,wasnotofthebestkindtosupportsuchaverdict.It
unquestionablyestablishedthatninetenthsofthephotographicworkput
beforethepublicwaspurelymechanical;buttoarguethereforethatall
Mechanicalprocesses
Mechanicalphotography isnot art (so mostphotography isnot art)
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Stieglitz: Pictorial Photography
photographicworkmustthereforebemechanicalwastoarguefromthe
premisetoaninconsequentconclusion,afactthatabriefexaminationof
someofthephotographicprocesseswilldemonstratebeyond
contradiction.Consider,forexample,thequestionofthedevelopmentof
aplate.Theacceptedideaisthatitissimplyimmersedinadeveloping
solution,allowedtodeveloptoacertainpoint,andfixed:andthat,
beyondacarethatitbenotoverdevelopedorfogged,nothingfurtheris
required.This,however,isfarfromthetruth.Thephotographerhashis
developingsolutions,hisrestrainers,hisforcingbaths,andthelike,and
inordertoturnoutaplatewhosetonalvalueswillberelativelytruehe
mustresorttolocaldevelopment.This,ofcourse,requiresaknowledgeof
andfeelingforthecomprehensiveandbeautifultonalityofnature.Asit
hasneverbeenpossibletoestablishascientificallycorrectscaleofvalues
betweenthehighlightsandthedeepshadows,thephotographer,likethe
painter,hastodependuponhisobservationofandfeelingfornaturein
theproductionofapicture.Thereforehedevelopsonepartofhis
negative,restrainsanother,forcesathird,andsoon;keepingallthewhile
aproperrelationbetweenthedifferentparts,inorderthatthewholemaybeharmoniousintone.Thiswillillustratetheplasticnatureofplate
development.Itwillalsoshowthatthephotographermustbefamiliar
notonlywiththepositive,butalsowiththenegativevalueoftones.The
turningoutofprintslikewiseisaplasticandnotamechanicalprocess.It
istruethatitcanbemademechanicalbythecraftsman,justasthebrush
becomesamechanicalagentinthehandsofthemerecopyistwhoturns
outhundredsofpaintcoveredcanvaseswithoutbeingentitledtobe
rankedasanartist;butinproperhandsprintmakingisessentiallyplastic
initsnature.
The lack of anobjective scale
In its originalmeaning, plasticmeans subject tomanipulation
Drawing (by hand)can bemechanical
Anexamination
of
either
the
platinum
or
the
gum
process,
the
two
great
printingmediaoftheday,willatoncedemonstratethatwhathasalready
beenassertedoftheplateisevenmoretrueofthese.Mostofthereally
greatworkofthedayisdoneinoneortheotheroftheseprocesses,
becauseofthegreatfacilitytheyaffordinthisdirection,afacilitywhich
studentsofthesubjectarebeginningtorealizeisalmostunlimited.Inthe
formerprocess,aftertheprinthasbeenmade,itisdevelopedlocally,as
wastheplate.Withtheactualbeautiesoftheoriginalscene,anditstonal
valueseverbeforethemindseyeduringthedevelopment,theprintisso
developedastorenderalltheseastheyimpressedthemakeroftheprint;
andasnotwopeopleareeverimpressedinquitethesameway,notwo
interpretationswilleverbealike.Tothisisduethefactthatfromtheir
picturesitisaseasyamattertorecognizethestyleoftheleadingworkers
inthephotographicworldasitistorecognizethatofRembrandtor
Reynolds.Inengraving,artstopswhentheengraverfinisheshiswork,
andfromthattimeontheprocessbecomesamechanicalone;andto
changetheresultstheplatemustbealtered.Withtheskilled
photographer,onthecontrary,avarietyofinterpretationsmaybegiven
ofaplateornegativewithoutanyalterationswhateverinthenegative,
whichmayatanytimebeusedforstrikingoffaquantityofpurely
The chemical useof platinumproduces strongcontrasts. In thegum process,gum Arabic iscombined withpigment. The twoprocessesproducedistinctive effectsin the resultingprints.
Engraved platesproduce prints bya mechanicalprocess in whichthe many printswill look virtuallyidentical
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Stieglitz: Pictorial Photography
mechanicalprints.Thelatestexperimentswiththeplatinumprocesshave
openedupanentirelynewfieldthatoflocalbrushdevelopmentwith
differentsolutions,soastoproducecolorsandimparttothefinished
pictureallthecharacteristicsofatintedwashdrawing.Thisprocess,
whichhasnotyetbeenperfected,hasexcitedmuchinterest,andbidsfair
toresultinsomeverybeautifulwork.Bythemethodoflocaltreatment
abovereferredtoalmostabsolutecontroloftonality,atmosphere,andthe
likeisgiventothephotographer,onwhoseknowledgeandtastedepends
thepicturesfinalartisticcharmorinartisticoffensiveness.
Inthegumprocess,longagodiscardedbyoldtimephotographersas
worthless,becausenotfacilefromthemechanicalpointofview,but
revivedofrecentyears,theartisthasamediumthatpermitsthe
productionofanyeffectdesired.Theseeffectsareinvariablyso
unphotographicinthepopularsenseofthatwordastobedecriedas
illegitimatebythoseignorantofthemethodofproducingthem.Inthis
processthephotographerprepareshisownpaper,usinganykindof
surfacemostsuitedtotheresultwanted,fromtheevensurfacedplatepapertoroughdrawingparchment;heisalsoatlibertytoselectthecolor
inwhichhewishestofinishhispicture,andcanproduceatwillanindia
ink,redchalk,oranyothercolordesired.Theprinthavingbeenmadehe
moistensit,andwithasprayofwaterorbrushcanthinout,shade,or
removeanyportionofitssurface.Besidesthis,byasystemofrecoating,
printingover,etc.,hecancombinealmostanytoneorcoloreffect....
Withtheappreciationoftheplasticnatureofthephotographicprocesses
cametheimprovementinthemethodsabovedescribedandthe
introductionofmanyothers.Withthemtheartmovement,assuch,took
a
more
definite
shape,
and,
though
yet
in
its
infancy,
gives
promise
of
a
robustmaturity.Themenwhowereresponsibleforallthisweremasters
andatthesametimeinnovators,andwhiletheyrealizedthat,likethe
painterandtheengravertheirarthaditslimitations,theyalso
appreciatedwhatuptotheirtimewasnotgenerallysupposedtobethe
fact,thattheaccessoriesnecessaryfortheproductionofaphotograph
admittedofthegivingexpressiontoindividualandoriginalideasinan
originalanddistinctmanner,andthatphotographscouldberealisticand
impressionisticjustastheirmakerwasmovedbyoneortheother
influence.
Acursoryreviewofthemagazinesandpaperstheworldoverthatdevote
theirenergiesandcolumnstoartanditsprogresswillconvincethereaderthattodaypictorialphotographyisestablishedonafirmandartistic
basis.Innearlyeveryartcentreexhibitionsofphotographsareshown
thathavebeenjudgedbyjuriescomposedofartistsandthosefamiliar
withthetechniqueofphotography,andpasseduponastotheirpurely
artisticmerit;whileinMunich,theartcentreofGermany,the
Secessionists,abodyofartistscomprisingthemostadvancedandgifted
menoftheirtimes,who(asthenameindicatestheyhavebrokenaway
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Stieglitz: Pictorial Photography
fromthenarrowrulesofcustomandtradition)haveadmittedtheclaims
ofthepictorialphotographtobejudgedonitsmeritsasaworkofart
independently,andwithoutconsideringthefactthatithasbeen
producedthroughthemediumofthecamera.Andthattheartloving
publicisrapidlycomingtoappreciatethisisevidencedbythefactthat
therearemanyprivateartcollectionstodaythatnumberamongtheir
picturesoriginalphotographsthathavebeenpurchasedbecauseoftheir
realartisticmerit.Thesignificanceofthiswillbethemoremarkedwhen
thepricespaidforsomeofthesepicturesareconsidered,itbeingnotan
unusualthingtohearofasinglephotographhavingbeensoldtosome
collectorforupwardofonehundreddollars.Ofthepermanentmeritof
thesepicturesposteritymustbethejudge,asisthecasewithevery
productioninanybranchofartdesignedtoendurebeyondtheperiodof
ageneration.
Can merit bedetermined if onedoes not considerthe medium?
Thefieldopentopictorialphotographyistodaypracticallyunlimited.To
thegeneralpublicthatacquiresitsknowledgeofthescopeand
limitationsofmodernphotographyfromprofessionalshowwindowsandphotosupplycases,thestatementthatthephotographeroftodayenters
practicallynearlyeveryfieldthatthepaintertreads,barringthatofcolor,
willcomeassomethingofarevelation.Yetsuchisthecase:portraitwork,
genrestudies,landscapes,andmarine,theseandathousandother
subjectsoccupyhisattention.Everyphaseoflightandatmosphereis
studiedfromitsartisticpointofview,andasaresultwehavethe
beautifulnightpictures,actuallytakenatthetimedepicted,stormscenes,
approachingstorms,marvelloussunsetskies,allofwhicharealready
familiartomagazinereaders.Anditisnotsufficientthatthesepicturesbe
trueintheirrenderingoftonalvaluesoftheplaceandhourtheyportray,
butthey
must
also
be
so
as
to
the
correctness
of
their
composition.
In
ordertoproducethemtheirmakermustbequiteasfamiliarwiththe
lawsofcompositionasisthelandscapeorportraitpainter;afactnot
generallyunderstood.Metropolitanscenes,homelyinthemselves,have
beenpresentedinsuchawayastoimparttothemapermanentvalue
becauseofthepoeticconceptionofthesubjectdisplayedintheir
rendering.Inportraiture,retouchingandthevulgarshinehavebeen
entirelydoneawaywith,andinsteadwehaveportraitsthatarestrong
withthecharacteristictraitsofthesitter.Inthisdepartmentheadrests,
artificialbackgrounds,carvedchairs,andthelikearenowtobefound
onlyintheworkshopsoftheinartisticcraftsman,thatclassofsocalled
portraitphotographerswhosesoleclaimtotheartisticistheglaringsign
hungwithouttheirshopsbearingthelegend,ArtisticPhotographsMade
Within.Theattitudeofthegeneralpublictowardmodernphotography
wasneverbetterillustratedthanbytheremarkofanartstudentata
recentexhibition.Thespeakerhadgonefromgumprinttoplatinum,
andfromlandscapetogenrestudy,withevidentandeverincreasing
surprise;hadnotedthatinsteadofbeingpurelymechanical,theprinting
processesweredistinctlyindividual,andthatthenegativenevertwice
yieldedthesamesortofprint;hadseenhowwonderfullytruethetonal
Colorphotography didnot becomesimple until 1907
Calling yourselfartistic does notmake you an artist
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Stieglitz: Pictorial Photography
renderings,howstrongtheportraits,howfreefromthestiff,characterless
countenanceoftheaverageprofessionalwork,andinawordhowfullof
feelingandthoughtwaseverypictureshown.Thencamethewords,But
thisisnotphotography!Wasthistrue?No!Foryearsthephotographer
hasmovedonwardfirstbysteps,andfinallybystridesandleaps,and,
thoughtheworldknewbutlittleofhiswork,advancedandimprovedtill
hehasbroughthisarttoitspresentstateofperfection.Thisisthereal
photography,thephotographyoftoday;andthatwhichtheworldis
accustomedtoregardaspictorialphotographyisnotthereal
photography,butanignorantimposition.
Stieglitz valuesoriginality inthought andfeeling
FromaLettertoJ.DudleyJohnston,April1925:Idonotmakepictures,thatisIneverwasasnapshotterinthesenseI
feelCoburnis.IhaveavisionoflifeandItrytofindequivalentsforit
sometimesintheformofphotographs.Itsbecauseofthelackofinner
visionamongstthosewhophotographthattherearereallybutfewtrue
photographers. Thespiritofmyearlyworkisthesamespiritofmy
laterwork.OfcourseIhavegrown,havedeveloped,knowmuchmore,ammoreconsciousperhapsofwhatIamtryingtodo.SowhatI
mayhavegainedinforminmaturityImayhavelostinanother
direction.Thereisnosuchthingasprogressorimprovementinart.
Thereisartornoart.Thereisnothinginbetween.
Alvin LangdonCoburn (1882-1966)
Photographs
express a visionof life.