1931

1931

Early this year and I have captured an outstanding close up of a cabbage leaf. This feels so close to a sculptor with my camera being such a sharp tool in obtaining the abstract form of the leaf and its values. It is illustrating what my series is really going for and i can't believe the time it is taking for these to come out. The reward is definitely there and this method is beginning to seem very unique. resembling my other subjects and its correlation to life and its form, it is begging for light in a way people have not seen yet.

Nelson, William. Edward Weston-One Hundred Photographs. Kansas City, Missouri: Nelson,
William Rockhill, Gallery, 1982.

1937 - Northern California

1937

How rapid time and weather work together to quickly give us this moment as we are traveling. As the rain stops and the clouds begin to give space for the sunlight, there can be so much to capture here in this little instant. I am just stunned and fascinated by how the light shines on the left over sparkling of the water and the contrast between each part of the land. There can so many words to describe the scape, but none can be as beautiful as silence and awe in the face of this occurrence.





Nelson, William. Edward Weston-One Hundred Photographs. Kansas City, Missouri: Nelson,
William Rockhill, Gallery, 1982.

1937

1937

This cup of Hot Coffee in the Mojave Desert is quite the giant. its just sitting here splendidly next to the bushes without disturb. Passing this on Route 66 just has me thinking about our environment and how difficult it is to stay cool. I cannot pass this up, seeing as it is early in the morning and this is exactly how it feels like outside. Whether or not it matters to anyone outside of Charis and I, is pure artistic choice. It has such a deep meaning in this weather and it is so close to the so called Siberia halfway house.

Nelson, William. Edward Weston-One Hundred Photographs. Kansas City, Missouri: Nelson,
William Rockhill, Gallery, 1982.

1937

1937

Like I have mentioned before, the tree's have given their own life in the work and its form is phenomenal. It has such beauty and resembles life itself. As I composition this image, disregarding what I have learned from all the books and the history of rules in this subject, I capture what I am truly seeing in this photograph. It is no longer just a tree, but instead, focus on the curves of the form and removing any other details that will sway the eyes. Its wonder and my approach seem to coincide into some of the other work I have been pushing forward with. The resemblance of the beauty of the body gives this tree its own title as the viewer can see the hips and the curve of the body this tree is mimicking. Or shall it be that we ourselves are mimicking the tree.

Danly, Susan, and Weston J. Naef. Edward Weston in Los Angeles. San Marino, CA:
Huntington Library, Art Collections, 1986.

1925

1925

It feels closer and closer to my ideals with the abstract curves of the naked body. The form is truly separating from what i am getting to and it is becoming much better thanks to Miriam. Her curves give the sense of familiar landscapes with only the use of the body, it is immaculate. Finding more and more relation to what I am aiming for. It is more clear as I see the form of many in this series and how much it can be related to other subjects, whether living or not.

Nelson, William. Edward Weston-One Hundred Photographs. Kansas City, Missouri: Nelson, 

William Rockhill, Gallery, 1982.

1924

1924

I have photographed many portraits, but this is one that I simply can't forget. Diego Rivera has such passion with his works, it is just amazing to be able to capture a man who even admires my own work. Being able to capture such a man with a brilliant mind, yet such a big heart. No man seems more passionate about his own murals than Diego. As here in Mexico, you can find many interesting artworks around as easily as you can find a subject to photograph. Living here is quite the experience, photographing many people, trying to revitalize my artwork before I leave back to California.

Nelson, William. Edward Weston-One Hundred Photographs. Kansas City, Missouri: Nelson, 

William Rockhill, Gallery, 1982.

1940

1940

Photographing the trees as a subject, is like any other portrait to me. they feel alive and have their own characteristics. Although people have their own specific set of rules when photographing trees, i tended to go with my natural way of shooting and that's to capture it first and set the parameters later. I want my photographs of the trees to have the same feeling of life as any other being. I show the life the tree has in its composure and stature as it is framed in the negative. By pushing away these connotative ways to photograph tree's and giving them views of expression, I strive to show the beauty it shows the world. As many would follow the rules other photographers have set out on the subject of trees, it is best to make your own judgement and capture the work for your own reasons.

Weston, Edward, and Peter C. Bunnell. Edward Weston on Photography. Salt Lake City: P.  

            Smith Books, 1983. 

1927

1927  

     What a shell! This ones quite wonderful with its form so natural and organic. Reminds me of the female form in a way. Those curves that wrap itself around with only its surrounding to give it change during time. All of these forms I have been photographing including these shells as well as Vegetables and nudes. There is such beauty in all of these shapes and forms, you can get a sense of movement and texture throughout the photographs. It all has a feeling of the world as a smaller piece of itself. I can start seeing more relatable comparisons with these works and the nature of landscape around me. I can see my inspiration coming through from the paintings I've come across, which are very profound to me during this time. They are taking such a long time as the way I have them set up, although the payoff is so amazing. Hours of waiting have me stressed at times and the process has me left with no joy in some tries if it is even slightly touched. My set up and the process put into this are very outstanding for each and I hope to see them come to life soon as a whole. There is no getting around it which I feel like it has its own meaning and symbolism towards the beauty in this world. These nautilus, which I have only first encountered in those paintings by Henry, have something that is just completely inspiring to me, I will follow this with more vegetables and nudes to see how each compare.


Maddow, Ben. Edward Weston: His Life. New York: Aperture, 1989.