elongated, vertical art was also not seen in the west until japanese scrolls were encount- ered. it is no accident that steichen used this form for his self-portrait (and the poster he made for the whole movement), or stieglitz for one of his most iconic images. (i couldn't find a moon photo, surprisingly! in this particular shape.)


and another important element of the design of the time, learned, again, from the japanese, that i more or less left out yesterday, is asymmetry. (there are numerous other things too, but they more have to do with other arts.)




see for yourself the near- ly ubiquitous occurrence of all of these traits at a wonderful site here. not stieglitz or steichen, or even coburn alone, but an entire era of photography was deeply, and beautifully, grounded across the sea.