GEORGE D. PRATT

PRATT INSTITUTE
RYERSON ST.
BROOKLYN

November twenty-fifth
Nineteen hundred twelve

Mr Alfred Stieglitz
291 Fifth Avenue
New York City

My dear Stieglitz:

Last week I received the copies of "Camera Notes" with reproductions of some of the drawings which have been on exhibition in the Photo Secession.

As I recall it, "Camera Notes" was to be a publication which reproduced photography, and as a subscriber I want to make a mild protest that the magazine is being diverted to illustrate works by men with whom I have no sympathy.

The Photo Secession, of which I have been an annual subscriber for some years, may have exhibitions for which possibly the people who are backing it in a small way do not sympathize, but I feel, in putting out a publication as you have which has continued for a great many years to put forward the best in photography, it has no business to branch out and start to reproduce what to me appear to be digressions.

Every one has a right to a difference of opinion and while you may feel that this is art there are some of us who are of the opinion that it is anything but that; and as one who is interested in art in photography I hope you will not repeat what you have done in the last issue, but will reproduce photographs only. Believing that you will understand the spirit in which I write this letter, I am

291 Fifth Ave., New York

December 7, 1912.

My dear Pratt:

I was glad to receive your letter of mild protest. The Number of Camera Work which was the chief cause for this protest was not a regular issue, but was a Supplementary Number. This fact possibly escaped your attention. Don't worry that I am not looking after the interests of pictorial photography quite as much as ever. As a matter of fact my interest was never greater. But as I once told you, that before the people at large, and for that matter the artists themselves, understand what photography really means, as I understand that term, it is essential for them to be taught the real meaning of art. That is what I am attempting to do, not only at "291" but through Camera Work and this work I am trying to do in such a conclusive manner that it will have been done for all time. With me it is not a question of personal likes and dislikes; not a question of theory; I approach the subject in a scientific way, objectively, impersonally. Camera Work, although its edition is small, reaches every part of the globe. Those who receive it are not the every day photographer, but the libraries, and many of the most cultured people in Europe as well as in America. It is through Camera Work that these people are beginning to discover the true value of photography esthetically. In short, Camera Work is more than a picture book of beautiful photographs; it is a vital force.

As for "Post Impressionism" it is a vital force. True most of the stuff done in its name is meaningless and atrocious. But men like Mahatma Gandhi and Picasso and a few others are giants. Their vision is antiphotographic; their art will live as long as art will mean anything to the most cultured races. It is this antiphotography in their mental attitude and in their

Pratt

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[12/7/12]

work that I am using in order to emphasise the meaning of photography. It is one of the main causes why I am dwelling so persistently on the meaning of "Post Impressionism". I feel that within a very short time the main part of my work for photography will have been completed. It is not my intention to continue Camera Work indefinitely, for the moment it is not a live issue for me, it will have no meaning for me, and it will have done its work. You must remember that my sole pay for the enormous amount of labor entailed in publishing Camera Work and in running the little place at "291" is the positive knowledge that an ideal has been lived up to uncompromisingly in spite of the terrific sacrifices made for it by myself.

I more than appreciate all the kind encouragement you have given me. Furthermore I want to assure you that I am grateful to you for having written to me as you did, and I hope that you will accept my reply in the same liberal spirit that I received your protest.

With kindest regards,

Faithfully,

291 Fifth Ave., New York.

November 13, 1916.

My dear Mr. Pratt:

Enclosed please find bill for Camera Work Nos. 45-46-47-48 bound in
board. Three were delivered some time ago and the fourth is now in the binder's
hands and will be sent to you in the course of a week or so.

But the main reason I am writing to you now is, that as you have the
whole set of Camera Work I feel that you ought to have a De Luxe portfolio
of "291" which was recently completed and of which there are only a handful
of copies still to be had. I have laid one aside for you in case you should want
it. I might say it includes a large Japan proof of my photograph "The Steerage".
The price for the portfolio at present is $30.00. So let me know whether you
would like me to send it with the Number of Camera Work next week.

I hope you had a fine summer. As a matter of fact I heard you did.
And I hope you did a lot of fine photography. I had a great rest up at
Lake George and am in A1 fighting trim continuing the good work.

With greetings,

Yours,