Camera Work: A Photographic Quarterly (1911 (Heft 34-35))

To those of our readers who fail to see why these drawings have been
introduced into Camera Work, we would say that, apart from the importance
of the originals, the reproductions are beautiful and interesting examples of
what can be accomplished by one of the most useful and far-reaching branches
of camera work: namely, the photo-mechanical processes.
Thus they are of value in a double sense. These prints make it possible
for those who cannot see the originals to enjoy an acquaintance with some of
the great artist’s most intimate studies, while at the same time they bring us
a fuller understanding of the capabilities of photographic reproduction when
it is directed by artistic feeling and technical knowledge.
Furthermore, we beg to remind our readers that one of the objects of
Camera Work is to reflect the activities of the Photo-Secession and its gallery.
What these are has been frequently referred to in recent issues of the magazine.
Editors.

TO OUR READERS
On March first we were compelled to raise the yearly subscription price
of Camera Work to eight dollars. This was made necessary by the constantly
increasing cost of the production in every direction. The single-copy price
named in each issue of Camera Work is a fair indication of the actual cost of
production of that number. This cost, it may be added, does not include any
allowance for salary, rent, or other fixed charges. For Camera Work is not
a business institution.
The present issue we publish as a double number (Number XXXIV-
XXXV); partly because it is impossible to split the Rodin series without
sacrificing its effectiveness, and partly because the expense of these reproduc-
tions prohibits their being issued in an ordinary single number.
Subscriptions received after publication of this number will start with
the next issue, Number XXXVI, which will contain twelve to fourteen Japan
proof photogravure Plates by Alfred Stieglitz. This next number will be
issued in November, after the return of the publisher-editor from his European
trip.
% The Photo-Secession Notes, as well as the reprints of newspaper comment
on the Photo-Secession Gallery exhibitions of Max Weber, John Marin,
Cezanne, and Picasso, have been held over until Number XXXVI.
Communications addressed to Mr. Alfred Stieglitz, mi Madison Avenue,
New York, and received during his absence in Europe, will receive proper
attention. All personal communications will be forwarded, and duly answered.

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