The images in Camera Work and Rhythm are not unlike one another; they similarly appear to be “published for those who know or want to know” (Camera Work no pg listed pdf 108). The photographs or what appear to be charcoal or thick pencil sketches are of similar subject matter and posed similarly. For instance, the page 8 image of the June 1912 issue of Rhythm features a necklace woman with head angled to the right. In the same way, the first image featured in the April 1913 issue of Camera Work features a woman with a boa obscuring her neck with her face posed up and to the right. First, this speaks to general posing in the early 1910s, but it also speaks to the intentionality toward catching an emotion. While the photographed woman includes an ornate hat, a boa, and an intricate outfit, what stands out due to lighting and posture is the mood and expression of her face. Her body is positioned in one direction, but her face catches a new direction. In the same way, the sketch of the woman is minimalist, which makes the focus on the face clearer, but again—it is the angle that turns this from a sketch of a face to an expression of mood. The hint of body, two small lines of shoulder, suggest a body direction different than the head, which faces up and away. While there are many more images which could be juxtaposed against one another, my intent in this small argument is to say that while the method of capturing modernist images can vary vastly, there is a sense of continuity between the intent of capturing the spirit behind the image and not necessarily the image itself.