Beginning in 1908, the focus of Camera Work broadened to include contemporary art in other media, as Alfred Stieglitz’s own interest in avant-garde European and American painting and sculpture grew, while it continued to include fine gravures of work by Stieglitz himself and fellow members of the Photo-Secession, albeit less frequently. The final issues of Camera Work, appearing in 1916 and 1917, marked a bold new course for photography with the inclusion of Paul Strand’s celebrated Modernist photographs, such as this tilted view of a tipped-over table.