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

 An idea just as abstract as could be conceived by sculptor or painter can be expressed through “objective” recording with the camera, because nature has everything that can possibly be imagined by the artist: and the camera, controlled by wisdom, goes beyond statistics. 
 Only with effort can the camera be forced to lie: basically it is an honest medium: so the photographer is much more likely to approach nature in a spirit of inquiry, of communion, instead of with the saucy swagger of self-dubbed “artists.” 
 I have been photographing our toilet, that glossy enameled receptacle of extraordinary beauty... Here was every sensuous curve of the “human figure divine” but minus the imperfections. Never did the Greeks reach a more significant consummation to their culture, and it somehow reminded me, forward movement of finely progressing contours, of the Victory of Samothrace. 
 With over twenty years experience, I never try to plan in advance. Though I may from experience know about what I can do with a certain subject... I start out with my mind as free from an image as the silver film on which I am to record, and I hope as sensitive. Then indeed putting one’s head under the focusing cloth is a thrill... one becomes a discoverer, seeing a new world through the lens. 
 I don’t give a tinker’s damn about being true to nature. 
 I start with no preconceived idea—discovery excites me to focus—then rediscovery through the lens—final form of presentation seen on ground glass, the finished print previsioned completely in every detail of texture, movement, proportion, before exposure—the shutter's release automatically and finally fixes my conception, allowing no after manipulation—the ultimate end, the print, is but a duplication of all that I saw and felt through my camera. 
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