hetic ideals than he was with making a fortune out of his, or others' work. In fact, he sold paintings for fellow artists without ever pocketing any broker profit.
Stieglitz subverted one of the elements of photography which distinguishes it from the other visual arts when he denied the multiplying potential of photography. Each print, from a single negative, could be considered an original work of art. As just discussed, however, Stieglitz was not interested in multiplying his photographic images or profits from those images. He was only insistent upon maintaining the individual integrity and uniqueness of each print. Additionally, his apparent disregard for the loss of his early negatives does not seem to bother him. In the same sense that a painter or a sculptor does not generally expect to reproduce or mass produce their creation beyond itself, Stieglitz was content with one masterwork per inspiration.
Another important principle relative to Stieglitz accomplishments is the following: all of the properties of a Stieglitz photograph--from composition
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