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Edward Weston, from "Master of Photography", 1948

Edward Henry Weston was born on March 24, 1886, in Illinois. He spent the majority of his childhood in Chicago where he attended Oakland Grammar School. He began photographing at the age of sixteen. Weston’s first photographs captured the parks of Chicago and his aunt’s farm. In 1906, following the publication of his first photograph in Camera and Darkroom, Weston moved to California. After working briefly as a surveyor for San Pedro, Los Angeles and Salt Lake Railroad, he began working as an itinerant photographer. He peddled his wares door to door photographing children, pets and funerals. Realizing the need for formal training, in 1908 Weston returned east and attended the Illinois College of Photography in Effingham, Illinois. Weston married his first wife, Flora Chandler in 1909. Weston opened his own portrait studio in Tropico, California. This would be his base of operation for the next two decades. Weston became successful working in soft-focus, pictorial style; winning many salons and professional awards. Weston gained an international reputation for his high key portraits and modern dance studies. Weston also authored many articles himself for many of these publications. In 1912, Weston met photographer Margrethe Mather in his Tropico studio. Mather becomes his studio assistant and most frequent model for the next decade. Mather had a very strong influence on Weston. He would later call her, “the first important woman in my life.” Weston began keeping journals in 1915 that came to be known as his “Daybooks.” They would chronicle his life and photographic development into the 1930’s. In 1922 Weston visited the ARMCO Steel Plant in Middletown, Ohio. The photographs taken here marked a turning point in Weston’s career. During this period, Weston renounced his Pictorialism style with a new emphasis on abstract form and sharper resolution of detail. The industrial photographs were true straight images: unpretentious, and true to reality. Weston later wrote, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.” Weston also traveled to New York City this same year, where he met Alfred Stieglitz, Paul Strand, Charles Sheeler and Georgia O’Keeffe. In 1923 moved to Mexico City where he opened a photographic studio with his apprentice and lover Tina Modotti. Many important portraits and nudes were taken during his time in Mexico. It was also here that famous artists; Diego Rivera, David Siqueiros, and Jose Orozco hailed Weston as the master of 20th-century art. After moving back to California in 1926, Weston began the work for which he is most deservedly famous: natural forms, close-ups, nudes, and landscapes. Between 1927 and 1930, Weston made a series of monumental close-ups of seashells, peppers, and halved cabbages, bringing out the rich textures of their sculpture-like forms. Weston moved to Carmel, California in 1929 and shot the first of many photographs of rocks and trees at Point Lobos, California. Weston became one of the founding members of Group f/64 in 1932 with Ansel Adams, Willard Van Dyke, Imogen Cunningham and Sonya Noskowiak. The group chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. 1936 marked the start of Weston’s series of nudes and sand dunes in Oceano, California, which are often considered some of his finest works. Weston became the first photographer to receive a Guggenheim Fellowship for experimental work in 1936. Following the receipt of this fellowship, Weston began experiencing Parkinson’s disease in 1946 and in 1948 shot his last photograph of Point Lobos. #edwardweston #f/64 #weston #everythinghasitsfirstime #masterofphotography #tinamodotti #francescaseravalle #itsfirstime #mentorship #photobook #photography #artcurator #photographycurator #historyofphotography #lesson #masters #documentaryofphotography The First Obsession is a research project about The First of Everything. The concept has its origin in #UntilProvenOtherwiseontheEvidenceoftheFirstPhotos by Francesca Seravalle. That channel has only cultural interests, sharing the knowledge, no commercial purposes, no monetization. It's a cultural project and a notebook of Movies, Films, and Documentary used during my annual course "Fashion Art and Cultural Context" 2018/19 at @InstitutoMarangoni London and in my workshop of history of photography, photobook and cinema © Francesca Seravalle more info www.francescaseravalle.com   / thefistphotos     / thefirstphotos   www.itsfirstime.tumblr.com https://francescaseravalle.cargo.site...