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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Ansel Adams – The Making of 40 Photographs: Rock and Surf

Insight into the way Ansel Adams made the photograph “Rock and Surf” and some thoughts on photographing the surf.

I was fortunate to be in Big Sur last week photographing that magnificent coast with the members of our workshop.  Ansel Adams made some beautiful photographs here as did, of course, Edward Weston.  An increasingly common technique used by photographers is to employ a neutral density filter to get very long exposures that turn the ocean into a sea of ethereal mist.  Many of these photographs are incredibly beautiful.  Personally, I connect with the power and energy of the ocean, something these beautiful photographs do not capture.

Adams’ technique was to stop the motion in of the surf as in this photograph titled “Rock and Surf.”  Freezing the water was essential to the effectiveness of the composition.

rock and surf

Rock and Surf (1951)
Ansel Adams

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Ansel Adams – The Making of 40 Photographs: Lodgepole Pines

Another post in a continuing series based on Ansel Adams’ wonderful book, “Examples – The Making of 40 Photographs.” This post covers a photograph from his Pictorialist period – Lodgepole Pines.

AA24-Lodgepole_Pines

Lodgepole Pines (1921)

This Ansel Adams photograph has always stood out from the rest of his works.  It doesn’t have the usual crispness or drama that one normally expects.  Instead the focus is soft and the shadows are not full and rich.  It almost seems like it might have been created by another person.  And for that reason I find it all the more interesting.

It’s difficult to imagine the great Ansel Adams as an amateur, a novice photographer.  One normally associates him with a supremely confident master of his art, a pioneer of techniques, both technical and aesthetic, that we still use and revere today.  And this is certainly an accurate characterization.  But like all of us, he had to start somewhere.  We all go through a period where our art is in its formative stages, where we are discovering ourselves, our vision and our voice.  And this photograph was part of the process for Adams.

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