As Pictorialist photographers artists began using their cameras for creative works of art at the turn of the twentieth century, they struggled against a tawdry reputation built upon mountains of kitschy, inexpensive stereographs and postcards. Moreover, the art establishment dismissed the camera as a tool for recording objective reality, without feeling or expression. While the subject matter of their photographs set the Pictorialists apart, so did the techniques they used to create physical prints. Explore these processes with Professor Richard Gray, associate professor of photography and chair of the department of Art, Art History, and Design.