Edward Weston

“One does not think during creative work, any more than one thinks when driving a car. But one has a background of years – learning, unlearning, success, failure, dreaming, thinking, experience, all this – then the moment of creation, the focusing of all into the moment. So I can make ‘without thought,’ fifteen carefully considered negatives, one every fifteen minutes, given material with as many possibilities. But there is all the eyes have seen in this life to influence me.”  –  Edward Weston

Note:  Not much of Weston’s photographs are in the public domain.  Therefore, I have include links to his more important photographs so you can enjoy them.

Early Life

On March 24, 1886, Edward Henry Weston was born in Highland Park, Illinois into an intellectual family.  His father, Edward B. Weston, was an obstetrician and his mother, Alice J. Brett, was a Shakespearean actress.  His mother died when he was only five years old and little Edward was raised mostly by his sister Mary who was fourteen years old at the time.  Weston called her “May” or “Maisie.  They would develop a close relationship which lasted throughout the years.

His father remarried when Weston was nine but neither he nor his sister got along with their stepmother or stepbrother.

When Weston was 11, Mary married and relocated from the Midwest to Southern California, settling in Tropico (later renamed to Glendale).  Once Mary left, Weston’s father devoted most of his time to his new wife and her son.  He had no interest in books or school and dropped out.  He also had a lot of time on his hands and spent it mostly by himself in his room.

In 1902, while on vacation on a farm in Michigan, his father gave him his first camera, a Kodak Bulls-Eye No. 2 for his 16th birthday.  His dad included a note which read in part, “you’ll not have to change anything about the Kodak. Always have the sun behind or to the side—never so it shines into the instrument. Don’t be too far from the object you wish to take, or it will be very small. See what you are going to take in the mirror. You can only take twelve pictures, so don’t waste any on things of no interest.”

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Modernism Changes Photography

Photography finally stands on its own as a legitimate, independent art form.

The Pictorialist movement was born among photographers who were primarily scientists. They fervently believed that photography was not limited to faithfully recording the physical world. They saw the camera as more than a mere mechanical device and they were intent on proving it could create art.

It’s not surprising that they turned for guidance to paintings. If a photograph was to be regarded as art, what better way than to make a photograph that looked like a painting. And besides, painters had already worked out the principles and standards for art over centuries. Why try to invent something new when there was such a wealth of knowledge and tradition at one’s disposal.

If one was so inclined, one could mark the beginning of the Pictorialist movement in 1869 when Henry Peach Robinson used the word in his book Pictorial Effects in Photography…, although the tradition had already taken root. This approach of employing well established standards of painting to photographs had a powerful following that lasted for nearly 100 years.

The Influence of Modernism

At the same time, Modernism was beginning to sweep across Europe in the late 19th century. In many ways, Modernism was the antithesis of the Pictorialist movement. Instead of sanctifying tradition, Modernism rejected it in its entirety. It was utter rebellion against the sensibilities of the establishment. Modernism permeated science, mathematics, philosophy, politics, the economy, literature, psychology and painting.

The Modernist movement was triggered by advances of technology. As if out of nowhere, technology was changing people’s lives. Tasks that were tedious and time-consuming became effortless. Technology was ushering in luxury and leisure time that was available to the masses. It promised a utopian way of life.

But it also shattered self-esteem and feelings of self-worth for many. Rather than a person taking pride from creating a product from start to finish, assembly lines reduced an individual’s contribution to one small, insignificant component.

In the realm of painting, the rejection of tradition was so entrenched that even as new, exciting movements were born, they were quickly discarded in favor of even newer movements. There was a rapid succession of isms: secessionism, fauvism, expressionism, cubism, futurism, constructivism, dada, and surrealism. Painters rejected the traditional notion that art had to be a realistic depiction of nature, people and society.

So, it’s not surprising that with all of this going on, Modernism infiltrated photography.

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“There Are No Rules of Composition”

Take your photography beyond the rules of composition.

It is often said that there are no ‘rules’ of composition. And yet, there they are – Rule of Thirds, Golden Rule, Leading Lines, S-Curves, Layers, Off Center, Symmetry, Perspective, Lines of all sorts and on and on. And why is it that when so many fellow photographers comment on one of your photographs they comment about the rules of composition and not what the image expresses? In fact, most books and courses on composition begin by stating that there are no rules of composition before launching into an exhaustive analysis of, yep, the rules of composition. And of course, it’s not fashionable to refer to the rules of composition as rules anymore because ‘there are no rules of composition.’

aspen_spring_2011

And yet we diligently study them all the same.

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Why I Love Big Sur

Big Sur in California is beyond description. Join me as I share some of my favorite locations ane experiences along this beautiful coast.

There are some places you have to see to believe, experience to begin to understand – Grand Canyon, Niagara Falls,…  Photographs don’t begin to capture the feelings you have.  Big Sur is such a place.

Big Sur is a 100 mile stretch of the California coast that has no competition for sheer grandeur anywhere on the West Coast.  Henry Miller claimed it was the way the Creator intended the world to be.

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The first thing that comes to most people’s minds are the towering Santa Lucia mountains that plunge headlong into the blue Pacific Ocean.  And there’s no doubt, this is what characterizes Big Sur.  The mountains in some places are a mile high and drop to the sea in only two miles.  Statistics – interesting but they don’t begin to convey the feeling you have in your stomach when driving the Cabrillo Highway, the two lane road that clings to the cliffs, snaking its way from San Simeon in the south to Carmel-by-the-Sea in the north.

Wherever you have such a precipitous coastline you’ll find plenty of cliffs into which the surf endlessly crashes.  You can experience calm seas like the photograph above.  After all it is the Pacific.  Or you can get a little more action.

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Ansel Adams – The Making of 40 Photographs: Frozen Lake and Cliffs

Explore with me Ansel Adam’s comments on the making of “Frozen Lake and Cliffs.”

It was in the  ‘70s when I was backpacking through the Kaweah Gap areas of the Sierra Nevada mountains.  We were two days out and came upon this lake.  I instantly recognized it from on of Ansel Adams that I particularly liked – Precipice Lake.  It was exciting and we spent the night there.

Frozen Lake and Cliffs (1932)

I’ve always been a fan of this Ansel Adams classic.   For me it has a feeling of immensity and majesty.  So it  has a special meaning to me reading about it in “Examples.”   A few things caught my attention in Adams’ narrative…

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