Edward Weston
[Photographer, b. 1886, Highland Park, Illinois, d. 1958, Wildcat Hill, California.]

 My work is never intellectual. I never make a negative unless emotionally moved by my subject. 
 My own eyes are no more than scouts on a preliminary search, for the camera’s eye may entirely change my idea. 
 The photograph isolates and perpetuates a moment of time: an important and revealing moment, or an unimportant and meaningless one, depending upon the photographer's understanding of his subject and mastery of his process. 
 A photograph has no value unless it looks exactly like a photograph and nothing else. 
 When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial clichés. 
 By all means tell your Board that pubic hair has definitely been part of my development as an artist, tell them it has been the most important part, that I like it black, brown, red or golden, curly or straight, all sizes and shapes. (To Museum of Modern Art curator Beaumont Newhall, after being told the museum was reluctant to show nudes revealing pubic hair.) 
 To compose a subject well means no more than to see and present it in the strongest manner possible. 
 To see the Thing itself is essential: the quintessence revealed direct without the fog of impressionism... This then: to photograph a rock, have it look like a rock, but be more than a rock. Significant presentation—not interpretation. 
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