Abstract
Abstract Camera Notes (figure 1), the journal of the Camera Club of New York, has traditionally been discussed in the context of Alfred Stieglitz's activist and editorial career.1 Moreover, recent Stieglitz scholarship has circumscribed the journal's thrust, defming its agenda as personalistic and elitist.2 These evaluations are based on the fact that Stieglitz utilized the journal as a fulcrum in his efforts to achieve fine-art status (and fine-art elitism) for the Camera Club and its members. As he stated in the premier Ouly 1897) issue: In the case of the photogravures the utmost care will be exercised to publish nothing but what is the development of an organic idea, the evolution of an inward principle; a picture rather than a photograph, though photography must be the method of graphic representation ...3
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