Stieglitz also continued to intertwine the walls of his galleries with the pages of his magazine. Stieglitz's closest friends (Steichen, Demachy, White, Käsebier and Keiley) were represented in both, while many others were granted one but not the other. Increasingly, a single photographer was given the preponderance of coverage in an issue, and in doing so Stieglitz relied more and more on his small circle of old supporters. This led to increase tensions among Stieglitz and some of his original colleagues, and when Stieglitz began to introduce paintings, drawings and other art forms in his gallery many photographers saw it as the breaking point in their relationship with Stieglitz.