In 1908, at the height of the success of Camera Work, its editor Alfred Stieglitz was placed on the defensive by accusations that he had abandoned the goals of the Camera Club of New York, an organization associated with the journal Camera Notes. Although a founding member of the Camera Club and a guarantor of its high-profile success through his previous editorship of its journal, Stieglitz was forced to submit his resignation from the organization as a result of these attacks. There is a certain irony in these charges since roughly a decade earlier, in 1896, Stieglitz also had been forced by the owners of another publication, The American Amateur Photographer, to resign as that magazine's editor, ending his successful tenure with its supporting organization. The owners of the magazine were fearful that Stieglitz's uncompromising commitment to the highest standards of pictorial work would alienate the association's largely amateur membership. fu a result of that resignation, Stieglitz had started Camera Notes in July 1897 for the newly formed Camera Club of New York. According to its own editorial mandate, the express purpose of this new publication was to advance the cause of pictorialism by keeping its ‘members in touch with everything connected with the progress and elevation of photography’.1 Now the Camera Club found itself following in the footsteps of the American Amateur Photographer's Association, publicly at odds with its celebrated leader for abandoning the organization's principles.
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