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Issues Of Camera Work: Fifty issues of Camera Work appeared between 1903 and 1917. The cover designs and the typography were by Steichen. The plates were, for the most part, photogravures on thin Japan paper hand-mounted on the pages, often on submounts of brown or gray. The first number was devoted to Kasebier, the second to Steichen, and succeeding issues were virtually monographs of the work of other members of the Photo-Secession as well as of leading photographers in Europe: Evans, Coburn, Demachy, Kiihn, Henneberg, Watzek, and others. Nor was photography of the past overlooked: one issue contained calotypes by Hill and Adamson, another portraits b> Margaret Cameron — photographers then virtual! gotten.
In the last two issues of Camera Work, dated 1916am! 1917, Stieglitz reproduced photographs by a newcomer, Paul Strand. They included a forceful series of porm: taken unawares in the streets with a Graflex camera, a^ pictures in which form and design were emphasized—i semiabstraction of bowls, a view looking down fromi viaduct, an architectural scene dominated by the vertical accents of a white picket fence. As Stieglitz wrote, the work was "brutally direct, pure and devoid of trickery."! was in striking contrast to much of the work produced by members of the Photo-Secession. It was prophetic of the reorientation in photographic aesthetics and of the return to the traditions of straight photography, which was to gain strength in the years after the v/ar. Strand wrote in 1917:
Now, don't start counting your possible profits on the basis of getting the above prices for your work. These are top prices which are rated only because the company has an enviable reputation for fine work. Until you have built up your own reputation, you might have to start with your prices near the lower levels, which run about half those which are quoted. But even so, the work is profitable, pays you more than the average man gets as a salary, once you've built up a good clientele.
To get started, work through the Camera clubs and the photographic stores, and by soliciting business personally every time you see anyone with a camera. Camera club members themselves are not likely to be good prospects because most of them have their own darkrooms. However, their hobby brings them into contact with other Camera owners and they can send the others, those without darkrooms, to you for your services. |
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