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

 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.) 
 For photography is a way to capture the moment—not just any moment, but the important one, this one moment out of all time when your subject is revealed to the fullest—that moment of perfection which comes once and is not repeated. 
 My work is never intellectual. I never make a negative unless emotionally moved by my subject. 
 I shall let no chance pass to record interesting abstractions, but I feel definite in my belief that the approach to photography is through realism—and its most difficult approach. (1924) 
 It cannot be too strongly emphasized that reflected light is the photograph’s subject matter. 
 I am having another reaction, from my statement that I could go through life with one woman! Ridiculous thought! Imagine never again having the thrill of courting,—the conquest,—new lips to find,—new bodies to caress. It would be analogous to making my last print, nailing it to the wall forever, seeing it there, until I would despise it or no longer notice it was there. 
 The world is full of sloppy bohemians and their work betrays them. 
 To be without [a camera] (to be what one might call camera-less) must be like losing a leg or better an eye. (To Alfred Stieglitz, who had written him: “For the first time in 55 years I am without a camera.”) 
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