Alfred Stieglitz pursued photography as an artistic legitimacy in his initial purpose. Common sense in the early era asserted that machines - cameras could not make art while comparing with painting. Specifically, photography was considered an innovative science, not fine art. The perceived vulgarity of mass culture and the excitement of modern art combined to encourage photographers interested in art and personal expression to create a separate aesthetic. Along with the world of mass production and the expansion of photography, a controversial issue had been whether was photography among in the fine arts or not. A movement called Pictorialism was rapidly arouse under the Stieglitz’s leading in order to promote and advocate that photography also played same role as painting, drawing or...
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... shapes related to one another–a picture of shapes, and underlying it, a new vision that held me: simple people; the feeling of ship, ocean, sky . . .
Composition served to be more significant element in composing a photograph. The apparent lines and geometric shapes were immediately visible. These lines and shapes function to frame and to move audiences’ attentions toward to the upper and lower divisions. The photograph not only gave a deep sense, but also the objects inside presented a stereo feeling because the distinct contrast between the foreground drawbridge and the background people and objects. Furthermore, upper and lower parts were divided by the centered that served as a implicit meaning on economic divisions of society. This photograph’s vision of shapes and lines, and the social condition combined to form one of Stieglitz remarkable straight photograph.
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