Edward Weston Quotes About Photography

Quotes about: Photography

• Anything more than 500 yards from the car just isn't photogenic.

  Edward Weston

  Photography, Car, Yards

• If I have any 'message' worth giving to a beginner it is that there are no short cuts in photography.

  Edward Weston

  Photography, Cutting, Giving

• The fact is that relatively few photographers ever master their medium. Instead they allow the medium to master them and go on an endless squirrel cage chase from new lens to new paper to new developer to new gadget, never staying with one piece of equipment long enough to learn its full capacities, becoming lost in a maze of technical information that is of little or no use since they don't know what to do with it.

  Edward Weston

  Photography, Squirrels, Long

• Photography to the amateur is recreation, to the professional it is work, and hard work too, no matter how pleasurable it my be.

  Edward Weston

  Photography, Hard Work, Matter

  Edward Weston, Peter C. Bunnell (1983). “Edward Weston on photography”, Gibbs Smith Publishers

• Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual.

  Edward Weston

  Photography, Matter, Photographer

  Brett Abbott, Edward Weston, J. Paul Getty Museum (2005). “Edward Weston: Photographs from the J. Paul Getty Museum”, p.60, Getty Publications

• Now, to consult the rules of composition before making a picture is a little like consulting the law of gravity before going for a walk.

  Edward Weston

  Photography, Law, Littles

• Ultimately success or failure in photographing people depends on the photographer's ability to understand his fellow man.

  Edward Weston

  Photography, Men, People

• The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.

  Edward Weston

  Photography, Art, Creativity

• The camera sees more than the eye, so why not make use of it?

  Edward Weston

  Photography, Eye, Cameras

  Edward Weston, Nancy Newhall (1990). “The daybooks of Edward Weston”

• This then: to photograph a rock, have it look like a rock, but be more than a rock.

  Edward Weston

  Photography, Rocks, Looks

  Edward Weston, Nancy Newhall (1990). “The daybooks of Edward Weston”

• I see no reason for recording the obvious.

  Edward Weston

  Photography, Photographer, Reason

  Edward Weston (1973). “The Daybooks of Edward Weston: California”

• To compose a subject well means no more than to see and present it in the strongest manner possible.

  Edward Weston

  Photography, Mean, Photographer

  Edward Weston, Peter C. Bunnell (1983). “Edward Weston on photography”, Gibbs Smith Publishers

• My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me.

  Edward Weston

  Photography, Photographer, Program

• I want the stark beauty that a lens can so exactly render presented without interference of artistic effect.

  Edward Weston

  Photography, Want, Lenses

  Edward Weston, Nancy Newhall (1990). “The daybooks of Edward Weston”

• 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.

  Edward Weston

  Photography, Understanding, Important

  Edward Weston, Peter C. Bunnell (1983). “Edward Weston on photography”, Gibbs Smith Publishers

• 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.

  Edward Weston

  Photography, Steel, Substance

  Sarah M. Lowe, Tina Modotti, Edward Weston, Barbican Art Gallery (2004). “Tina Modotti & Edward Weston: the Mexico years”, Merrell Publishers

• My own eyes are no more than scouts on a preliminary search, or the camera's eye may entirely change my idea.

  Edward Weston

  Photography, Eye, Ideas

  "Pictures on a page: photojournalism and picture editing" by Harold Evans, Edwin Taylor, (p. 75), 1978.

• 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 cliches.

  Edward Weston

  Photography, Vision, Patterns

  Edward Weston, Peter C. Bunnell (1983). “Edward Weston on photography”, Gibbs Smith Publishers

• Since the recording process is instantaneous, and the nature of the image such that it cannot survive corrective handwork, it is obvious that the finished print must be created in full before the film is exposed.

  Edward Weston

  Photography, Film, Process

  Edward Weston, Peter C. Bunnell (1983). “Edward Weston on photography”, Gibbs Smith Publishers

• People who wouldn't think of taking a sieve to the well to draw water fail to see the folly in taking a camera to make a painting.

  Edward Weston

  Photography, Thinking, People

• 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.

  Edward Weston

  Photography, Ideas, Glasses

  Edward Weston, Peter C. Bunnell (1983). “Edward Weston on photography”, Gibbs Smith Publishers

• It seems so utterly naive that landscape - not that of the pictorial school - is not considered of "social significance" when it has a far more important bearing on the human race of a given locale than excrescences called cities.

  Edward Weston

  Photography, School, Race

  Edward Weston, Leslie Squyres Calmes, Willard Van Dyke (1992). “The letters between Edward Weston and Willard Van Dyke”, Center for Creative Photography

• Very often people looking at my pictures say, 'You must have had to wait a long time to get that cloud just right (or that shadow, or the light).' As a matter of fact, I almost never wait, that is, unless I can see that the thing will be right in a few minutes. But if I must wait an hour for the shadow to move, or the light to change, or the cow to graze in the other direction, then I put up my camera and go on, knowing that I am likely to find three subjects just as good in the same hour.

  Edward Weston

  Photography, Moving, Knowing

  Edward Weston, Peter C. Bunnell (1983). “Edward Weston on photography”, Gibbs Smith Publishers

• "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"."

  Edward Weston

  Photography, Lying, Artist

  Edward Weston, Nancy Newhall (1990). “The daybooks of Edward Weston”

• Arguments against photography ever being considered a fine art are: the element of chance which enters in, — finding things ready-made for a machine to record, and of course the mechanics of the medium. I say that chance enters into all branches of art.

  Edward Weston

  Photography, Art, Opportunity

  "The Daybooks of Edward Weston: California".

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