He subsequently bought a Graflex which he loved so much he contributed testimonials to the company. It was at this point that Stieglitz borrowed a hand held 4x5 Kodak plate camera* with which he took a picture that for him became ‘The basis of so-called “American Photography”’ - “Winter, Fifth Avenue”. He started making contacts quickly though and was quickly writing for it with ‘A Plea for Art Photography’ - a call for simplicity and boldness in composition. Stieglitz found New York ‘difficult’ after the liberal life in Europe a drab city without the cafe culture and without a network of friends, he found it lonely. He was called home at the death of his sister and he was so attached to his European life that he refused until his father threatened to stop his ‘stipend’. Stieglitz was finding a place for himself in Europe and was exploring some abstract concepts of water and clouds (if approaching them askance) and he also had a romantic involvement with a prostitute who ‘starred’ in one of his most successful images of that time, “Sun Rays, Paula”. Alfred surprised his professor who thought this was not possible.Īt this time, Stieglitz was also taking landscape photographs in the Alps, particularly photographs of Lake Thun with a sky that foreshadows the equivalents series. Vogel challenged Steiglitz to make a photograph of a white stone statue outside with a black velvet cloth draped over it and retain detail throughout.
Vogel taught metallurgy and chemistry and gave the course in photochemistry that Alfred studied. When his family returned to America, Alfred started studying under Professor Hermann Wilhelm Vogel.
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