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My cloud photographs are equivalents of my most profound life experiences, my basic philosophy of life. All art is an equivalent of the artist’s most profound life experiences.

Alfred Stieglitz

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Alfred Stieglitz
Age: 81 †
Born: 1864
Born: January 1
Died: 1946
Died: January 1
Exhibition Curator
Photographer
Photography Critic
Publisher
Hoboken
New Jersey
Alfred Steiglitz
Photography
Equivalent
Creativity
Cloud
Philosophy
Photographs
Artist
Basic
Art
Clouds
Life
Experiences
Photograph
Profound
Equivalents

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Photography my passion, the search for truth, my obsession.
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All I want is to preserve that wonderful something which so purely exists between us.
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In photography there is a reality so subtle that it becomes more real than reality.
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It is not art in the professionalized sense about which I care, but that which is created sacredly, as a result of a deep inner experience, with all of oneself, and that becomes 'art' in time.
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Technically perfect, pictorially rotten. (Stieglitz's standard comment on photographs he rejected for publication in The American Amateur Photographer.)
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The fight for photography became my life.
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Photographers must learn not to be ashamed to have their photographs look like photographs.
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My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it.
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I am not a painter, nor an artist. Therefore I can see straight, and that may be my undoing.
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There are many schools of painting. Why should there not be many schools of photographic art? There is hardly a right and a wrong in these matters, but there is truth, and that should form the basis of all works of art.
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My aim is increasingly to make my photographs look so much like photographs [rather than paintings, etchings, etc.] that unless one has eyes and sees, they won't be seen - and still everyone will never forget having once looked at them.
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My picture, Fifth Avenue, Winter is the result of a three hours' stand during a fierce snow-storm on February 22nd 1893, awaiting the proper moment. My patience was duly rewarded. Of course, the result contained an element of chance, as I might have stood there for hours without succeeding in getting the desired pictures.
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To demand the portrait that will be a complete portrait of a person is as futile as to demand that a motion picture be condensed into a single still.
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For that is the power of the camera: seize the familiar and give it new meanings, a special significance by the mark of a personality.
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As a matter of fact, nearly all the greatest work is being, and has always been done, by those who are following photography for the love of it, and not merely for financial reasons. As the name implies, an amateur is one who works for love.
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If you place the imperfect next to the perfect, people will see the difference between the one and the other. But if you offer the imperfect alone, people are only too apt to be satisfied by it.
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Everything is relative except relatives, and they are absolute.
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I was sad to leave Europe in 1890, after my student days in Germany... But then, once back in New York, I experienced an intense longing for Europe, for its vital tradition of music, theatre, art, craftsmanship... I felt bewildered and lonely. How was I to use myself?
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A work is not art until enough noise has been made about it and someone rich comes along and buys it.
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The goal of art was the vital expression of self.
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