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.) 
 My own eyes are no more than scouts on a preliminary search, for the camera’s eye may entirely change my idea. 
 A photograph has no value unless it looks exactly like a photograph and nothing else. 
 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. 
 Now to consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk. 
 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. 
 To compose a subject well means no more than to see and present it in the strongest manner possible. 
 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. 
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