Alfred Stieglitz
[Photographer and curator, b. 1864, Hoboken, New Jersey, d. 1946, New York.]

 Owning a picture, putting pictures away in the homes of the rich, or in museums, is not caring, is not really putting art to its best use or helping the artist to develop to his fullest capacity. Until the feeling that makes one want a picture... is mirrored in one’s way of life... there can be no meaning to having pictures. 
 I am not a painter, nor an artist. Therefore I can see straight, and that may be my undoing. 
 You may call this a crowd of immigrants... To me it is a study in mathematical lines, in balance, in a pattern of light and shade. (On his photograph The Steerage.) 
 I’ll try portraits of eggs & see whether I can differentiate between a rotten egg & a fresh one—so that as you look at the pictures you’ll get the psychology of that particular (or not particular) egg. —That will be a test of my powers. 
 Wherever there is light, one can photograph. 
 In the infancy of photography... it was generally supposed that... every succeeding step was purely mechanical, requiring little or no thought. The result of this was the inevitable one of stamping on every picture thus produced the brand of mechanism... (1899) 
 My ideal is to achieve the ability to produce numberless prints from each negative, prints all significantly alive, yet indistinguishably alike, and to be able to circulate them at a price not higher than that of a popular magazine, or even a daily paper. 
 The idea of Secession is hateful to the American—they’ll be thinking of the Civil War. I’m not. Photo-Secession actually means a seceding from the accepted idea of what constitutes a photograph... (1902) 
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