Alfred Stieglitz
The Steerage
Alfred Stieglitz
Bly and Venus
Alfred Stieglitz
The Hand of Man
Alfred Stieglitz
Apples
Alfred Stieglitz
Self-Portrait
Alfred Stieglitz
From the Front Porch, Lake George
Alfred Stieglitz
North from An American Place, New York
Alfred Stieglitz
Poplars Beside Porch, Lake George
Alfred Stieglitz
Georgia O’Keeffe
Alfred Stieglitz
Poplars Beside Porch, Lake George
Alfred Stieglitz
Equivalent
Alfred Stieglitz
Radio City—From the Shelton Hotel
Alfred Stieglitz
Equivalent
Alfred Stieglitz
Equivalent
Alfred Stieglitz
Equivalent
Alfred Stieglitz
The Terminal
Alfred Stieglitz
Equivalent
Alfred Stieglitz
The Street—Design for a Poster
Alfred Stieglitz
The Terminal
Alfred Stieglitz
1864 - 1946
The Terminal
1892, printed 1920-1939
Gelatin silver print
3 1/16 x 4 in. (7.8 x 10.2 cm)
Framed: 16 3/4 x 20 3/4 x 1 1/8 in. (42.5 x 52.7 x 2.9 cm)
The Terminal was one of Stieglitz’s first photographs using a portable, hand- held Graflex camera. Traditionally trained with a bulky, large-format camera that required a tripod for stabilization, Stieglitz borrowed the lightweight Graflex from friend and fellow photographer William B. Post. The negatives he was able to produce, regardless of the relatively slow plates, were enough to convince Stieglitz of the benefits provided by the camera. Soon after, he purchased his own Graflex and used it for the majority of his career, notably to produce his Equivalents.
Stieglitz used various printing techniques during his career, but most frequently the photogravure and gelatin silver processes, both seen here. The smaller of the two includes the complete image from the negative, while the larger shows his use of cropping. While each image has a varying sense of intimacy and physical dominance, they also differ in tonal value based on their printing technique.