A perfectly white sky and an equally white mass of what may be snow below, with masses of gray lines on either side, forms a poor subject, poorly photographed, the fault being much under-exposure and overdevelopment.вЂќ Weston-вЂRushes in Winter.вЂ™ We cannot say anything in favor of this.

Unfortunately for posterity, the photograph itself is not illustrated, but the reviewer unabashedly lambastes it as follows: вЂњ2135. Two months later another Weston landscape, Rushes in Winter (Not in Conger), received a scathing appraisal in the вЂњOur PortfolioвЂќ column of the June 1906 issue of American Amateur Photographer. WestonвЂ™s work.вЂќДespite the hopeful closing note, this proved the only reference to, or photograph by, Weston to appear in the pages of Camera and Dark-Room, which ceased publication in 1906 to merge with American Amateur Photographer. Objection may be made to the strong halation in the topmost branches, but in this case it is well made use of to give the necessary effect of distance and atmosphere. The print, which is on a rough developing paper, is very pleasing to the eye, but the quality of the negative seems better suited to platinum. The composition is highly satisfactory and the treatment shows that the maker is possessed of considerable artistic taste as well as technical ability. Weston- вЂSpring,вЂ™ although it bears all the earmarks of having been made later in the year, is a more than ordinarily successful rendering of a wooded landscape. The magazine praised it in their вЂњPicture CriticismвЂќ column as follows: вЂњE.H. WestonвЂ™s fine eye for composition is already apparent in this early landscape which debuted, appropriately enough for its vernal theme (and the equivalent вЂњspringвЂќ of WestonвЂ™s career), in the April 1906 issue of Camera and Dark-Room. This propitious introduction came in the form of Spring (Conger 2/1903), a sylvan 1903 image in which a winding path meanders through a wooded glade in ChicagoвЂ™s Washington Park. He will occupy the Hagemeyer studio, with his son Bret Weston.вЂќ Д®dward Weston, Spring, 1903 as illustrated in Camera and Dark-Room, April 1906 В© Center for Creative Photography, University of Arizona вЂњWeston on the WayвЂќ proclaimed The Carmelite on 26 December 1928: вЂњEdward Weston is coming to Carmel for an indefinite stay, arriving early in January. All photographs by Edward Weston В© Center for Creative Photography, University of Arizona. Note: Unless stated otherwise, all photographs illustrated in this post are currently owned, or were owned in the past, by Paul M. He knows when the light is best in all of his favorite places, when the weather will be good, what kind of clouds to expect.вЂќ -Edward Weston. He can study his material constantly, know how it looks at different times of day and seasons of year. вЂњThe photographer who stays at home has one great advantage over the photographer who travels-his familiarity with his surroundings. Larry Colwell, Edward WestonвЂ™s Mailbox, Carmel Highlands, Calif., 1955. Continue reading вЂњ19 January 2022: вЂњMore Naked Than Eyes in вЂNaked EyeвЂ™вЂќ: Louis Clyde Stoumen, Edward Weston and The NakedВ EyeвЂќ в†’ However, it is Edward Weston who served as the centerpiece of The Naked Eye-his life and accomplishments explored in an extensive concluding chapter that captured the attention of critics and audiences and earned the film its accolades. This impressive tribute touched upon the contributions of such luminaries as Louis-Jacques Daguerre, Matthew Brady, Margaret Bourke-White, Alfred Eisenstadt, Alfred Stieglitz, Paul Strand, and Weegee as well as the influences of George Eastman and Life magazine. In 1956, photographer, author and documentary filmmaker Louis Clyde Stoumen completed The Naked Eye: The Story of the Art and Fun of Photography, an ambitious, full-length cinematic history of photography stretching from its earliest stirrings with the camera obscura through the mid-20th century. Note: Unless stated otherwise, all photographs and archival materials illustrated in this post are currently owned, or were owned in the past, by Paul M. Directed and produced by Louis Clyde Stoumen.

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