Stieglitz's own photographs and those of several other Photo-Secessionists—Edward Steichen, one of his early protégés; Frederick Evans, the British architectural photographer; and the portraitist Alvin L. Coburn—adhered with relative strictness to a “straight” aesthetic. The quality of their works, despite a pervasive self-consciousness, was consistently of the highest craftsmanship. Stieglitz's overriding concern with the concept “art for art's sake” kept him, and the audience he built for the medium, from an appreciation of an equally important branch of photography: the documentary.
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