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

 Any predictions that color will supplant black and white are ridiculous; drawings, dry points, etchings, lithographs are not negated by painting. The aesthetic possibilities of color will be determined by the creative ability of the individual. (1947) 
 Photography’s great difficulty lies in the necessary coincidence of the sitter’s revealment, the photographer’s realization, the camera’s readiness. But when these elements do coincide, portraits in any other medium, sculpture or painting, are cold dead things in comparison. 
 One does not think during creative work, any more than one thinks when driving a car. But one has a background of years—learning, unlearning, success, failure, dreaming, thinking, experience, all this—then the moment of creation, the focusing of all into the moment. So I can make “without thought,” fifteen carefully considered negatives, one every fifteen minutes, given material with as many possibilities. But there is all the eyes have seen in this life to influence me. 
 Since it has the validity of a new expression, without traditions or conventions, the freshness of an experimental epoch, the strength of pioneering, photography has a significant status in the life of today. (1928) 
 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.” 
 Those who feel nothing, or not completely at the time of exposure, relying upon subsequent manipulation to reach an unpremeditated end, are predestined to failure. 
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