Edward Weston Research Paper

The American photographer, Edward Weston, can be described as one of the virtuosi photographers of the 20th century. The time period in which he made art was around the surrealism movement. Artists, as well as photographers, created strange creatures from everyday objects and developed painting techniques in this time period. Edward Henry Weston was born March 24, 1886, in Highland Park, Illinois. Edward would soon receive a camera from his father when he was around 16 years of age. “Much of his photography in the early 1920s can be identified as Pictorialist style, meaning they imitated paintings. He could also be described as a straight photographer. He gives it how it comes, no special tricks to tweak his work. In 1923, he traveled to

“The shapes of the peppers Weston photographed became women, his women became landscapes, and his landscapes emerged with attributes of all living nature” (Waddell). After looking at the shot it could bear a resemblance to parts of the body, hence are irrelevant. The intent of the photo is to show the symbolist parts of the body in the sand. The medium of the snap was a gelatin silver print. A gelatin silver print, are black and white film and print papers. There are many reasons behind Weston’s, eroticization of photographs. Weston declared that his photographs had no psychosomatic qualities, hence his consort Tina Modotti, was disturbed by his photographs. “Weston’s pictures tend to converge as he clearly emphasizes anthropomorphic qualities in the sensuous folds of the dunes, while the bodies of his female models are abstracted until they seem more like rocks or landforms” (“Dunes, Oceano“). After analyzing Weston’s photos, it’s clear that he feels that you should see elements and natural as it is, instead of using a brummagem outlook. One of Edward Weston’s famous quotes state that, “To clearly express my feeling for life with photographic beauty, present objectively the texture, rhythm, form in nature without subterfuge or evasion in technique or spirit, to record the quintessence of the object or element before my lens, rather than an interpretation, a superficial phase, or passing mood, this is my way in