Brett and Edward Weston

[georgecp]

I would love a copy of this article as well. If you don't mind, please send it to me. Thanks in advance for your kindness.

Best Regards
George Pappas

 

[Trask]

If available, if an email list is being put together, I too would appreciate the opportunity to read this article. I'm pretty sure this magazine is not available here in Saudi Arabia!

 

[Timothy]

HOLY MACKERAL !
I am very grateful to Ken for sending this article to me. Not only is this a revealing and interesting look at two photographers that most of us are at least familiar with, it serves as a really valuable lesson in the whole business of "seeing" as a photographer in general.
Thanks again.

 

[henrysamson]

I'm not sure if this works from any IP.

Dead Link Removed

There is a PDF link on the upper right.

I see now that I was able to access the article and download since I am at a university where the library has arranged for access. So, if any of you are in a similar position or can VPN into a university you may be able to use the link.

 

[Jeremy]

It might make sense to post the article as an attachment so we can download it from APUG. Unless, of course, there would be some copyright issues.

Yes, this is a copyrighted article and not available for free distribution.

 

[henrysamson]

This requires you to be a member of JSTOR or using a computer in a library that is a member. You can purchase a copy, but to get it free, you must be a member or participating university.

It seems you just have to be at the same university as the library that has arranged for access. The <school>.edu of your domain name of the requesting computer seems to be the key.

 

[Les]

I would also appreciate it if someone would pm me the article.
Thanks in advance. Les

 

[Merg Ross]

In my humble opinion much of Brett's best work (and he made a vast amount of it) was not included in his portfolios. Try a google search for images or go over to Corbis, I believe they have 1000 images of his there. All the best. Shawn

This is true, much of Brett's best work is not in his portfolios. He asked me to assist him in choosing prints for his later portfolios, with one stipulation; the negatives had to be easy to print in large quantities. As a result, some of his iconic work does not appear in the portfolios, although much of what does is excellent. Lodima has done a good job of being faithful in the reproduction of Brett's work.

For those who may not be familiar with Art Wright's film on Brett, I recommend it highly. Art did an excellent job of capturing Brett the person. As a bonus, he has included 892 images of Brett's work from the BW Archive.

http://www.brettwestonphotographer.com/

The most thoughtful piece that I have read about Brett and his father was in Gerald Robinson's book, Photography, History & Science. Jerry knew Brett very well, unlike many who write about the Westons. He does an excellent analysis of their importance to each other, without any bs.

http://www.amazon.com/Photography-History-Science-Gerald-Robinson/dp/1887694277

The Brett Weston exhibit presently in NH was in Santa Barbara last year and must be seen to understand the vision of this extraordinary photographer. He was not in competition with his father, nor was he ever in the shadow. The admiration and love that each had for the other was immense. I am one of the very fortunate to have seen them together, and witness the affection.

 

[Shawn Dougherty]

Yes, I've read about Brett's portfolio selection criteria before. Can't say I blame him.

I also enjoyed Art's film, some great quotes in there and Beaumont Newhall's narration is fantastic, not to mention the sound bits from others included in the extras.

Thanks for the book link, Merg. Too bad Amazon doesn't have it in stock...

All the best. Shawn

 

[hvandam2]

I would love to have a copy of the essay also, I've got some information on EW but nothing on Brett.

Thanks!

 

[mikebarger]

Please add me to the list looking for the article.

Thanks

Mike

 

[Merg Ross]

Thanks for the book link, Merg. Too bad Amazon doesn't have it in stock...

All the best. Shawn

Shawn, sorry for the useless link. Carl Mautz may have copies.

http://www.carlmautz.com/index.php?main_page=index&cPath=11&sort=20a&page=3

Best,
Merg

 

[Shawn Dougherty]

It wasn't useless! Thanks for letting us know about it. Amazon claims it will be restocked. I'll check out the new link today, I'm sure I'll track it down somewhere. Thanks, Merg!

 

[PaulW128]

Merg;

Thank you for the information. I just ordered the DVD as well as the book (from Carl Mautz) Brett and Edward have been heroes of mine for as long as I can remember. What a thrill to have somebody who actually knew Brett contributing to this really interesting thread!!

Best
Paul

 

[doughowk]

I presume Brett's LF images (8X10 & 11X14) were un-cropped contact prints. As he switched to MF and enlarging, was it to a square format? Did he still print his initial vision, or did he crop possibly to a different aspect ratio.

Merg, thanks for the recommendation of Robinson book. Ordered from one of the book search sites.

 

[Mahler_one]

I noted the same thing as Doug did....I wonder when Brett switched to MF, and why? Did he have any physical ailments that made it difficult for him to manage the 8x10 camera? Did he find the ability to enlarge and perhaps selectively crop an image somewhat less "confining" than contact printing? Had he found that printing papers other then Azo type contact papers yielded results that were similar enough to Azo so that he felt comfortable completely changing his working methods? I also noted in Steve Anchell's book wherein he wrote about an interview he had with Brett Weston that Brett had switched to LPD developer stating that Amidol was a poison. Did Brett suffer from any ailment that he felt was secondary to Amidol use? Brett had evidently also abandoned Pyro for 10 years, but returned to Pyro stating that he could not get the same results with another film developer. Edward Weston died of Parkinson's disease, and there has been speculation that his disease was the result of exposure to Pyro developers.

I find it interesting that even such a master photographer and artist such as Brett Weston felt free to change his equipment and darkroom practices whenever he felt that another "method" suited his vision and needs. There is a lesson in such "freedom" for all of us who feel bogged down and in a rut...

 

[Merg Ross]

I presume Brett's LF images (8X10 & 11X14) were un-cropped contact prints. As he switched to MF and enlarging, was it to a square format? Did he still print his initial vision, or did he crop possibly to a different aspect ratio.

Merg, thanks for the recommendation of Robinson book. Ordered from one of the book search sites.

For the most part, Brett's contact prints were uncropped. There are exceptions, Topaz Lake, 1955 comes to mind from one of our early trips. However, as you suggest, the resulting image was his initial vision.

When Rollei gave him the 6x6 outfit in 1968, he was more excited about his work than I had ever seen him. Like many who knew him, I was surprised over his enthusisam. He told me simply, that the Rollei made things possible that he could never have done with the large cameras.

I have to believe that his forty years of discipline with the large cameras and the confines of the format, carried over to the magnificent images he produced with the Rollei. He could do close-ups with ease, photograph straight-up (Wigwam Burner), use the long lens for landscapes (Mendenhall Glacier), and walk longer distances.

He used the Rollei much like a view camera, most always on a tripod, slow film (ASA 25) developed in Rodinal and enlarged with a point source light.
He printed in the square format when appropriate, or cropped to his initial vision in the field.

 

[Merg Ross]

I noted the same thing as Doug did....I wonder when Brett switched to MF, and why? Did he have any physical ailments that made it difficult for him to manage the 8x10 camera? Did he find the ability to enlarge and perhaps selectively crop an image somewhat less "confining" than contact printing? Had he found that printing papers other then Azo type contact papers yielded results that were similar enough to Azo so that he felt comfortable completely changing his working methods? I also noted in Steve Anchell's book wherein he wrote about an interview he had with Brett Weston that Brett had switched to LPD developer stating that Amidol was a poison. Did Brett suffer from any ailment that he felt was secondary to Amidol use? Brett had evidently also abandoned Pyro for 10 years, but returned to Pyro stating that he could not get the same results with another film developer. Edward Weston died of Parkinson's disease, and there has been speculation that his disease was the result of exposure to Pyro developers.

I find it interesting that even such a master photographer and artist such as Brett Weston felt free to change his equipment and darkroom practices whenever he felt that another "method" suited his vision and needs. There is a lesson in such "freedom" for all of us who feel bogged down and in a rut...

Sorry, too many questions for a single post. I do have answers, but not this evening.

Regards,
Merg

 

[doughowk]

In using a LF camera for contact printing we quickly learn the importance of the edge. From Aikin's article we learn that Brett used the edge to include elements that worked for creating a dynamic composition. Contact printing displayed that initial vision.
Merg, you state "He used the Rollei much like a view camera". Did that include working to the edge of the frame, or did the MF change his methodology to a looser style in composing combined with greater freedom to interpret the negative in the darkroom? Did he then find the LF too confining?

An unrelated question. Much of Ed Weston's work were of figure studies. And other images were very sensuous. Brett, from what I've seen, did very few figure studies. But, to me, there is a very sensuous quality to Brett's work. In the DVD he does make a comment about being turned on to the image. Did Brett approach the images at an emotional or intuitive level rather than analytical level?

 

[Merg Ross]

In using a LF camera for contact printing we quickly learn the importance of the edge. From Aikin's article we learn that Brett used the edge to include elements that worked for creating a dynamic composition. Contact printing displayed that initial vision.
Merg, you state "He used the Rollei much like a view camera". Did that include working to the edge of the frame, or did the MF change his methodology to a looser style in composing combined with greater freedom to interpret the negative in the darkroom? Did he then find the LF too confining?

An unrelated question. Much of Ed Weston's work were of figure studies. And other images were very sensuous. Brett, from what I've seen, did very few figure studies. But, to me, there is a very sensuous quality to Brett's work. In the DVD he does make a comment about being turned on to the image. Did Brett approach the images at an emotional or intuitive level rather than analytical level?

Doug, from working with Brett in the field, I would say that the final print was faithful to the original composition in most cases. There was little darkroom interpretation, other than the usual choices of contrast, burning etc. He was not limited to the 6x6 format with roll film, later going to 6x7. My comment, "like a view camera", was alluding to his precise compositions in the field, as opposed to relying on darkroom magic later.

To your last question, Brett had no use for the analytical approach to his work; he worked on a purely intuitive level, and with immense confidence. He often said it was his belief that one was born with a way of seeing; good composition, he felt, could not be taught. However, that is another topic.

One more point, he did not abandon the 8x10 after he started using the 120 film cameras more frequently in the 1970's. I say more frequently, because he was using roll film cameras in the 1950's and 60's also (but not SLR's).

 

[Mahler_one]

Thanks for the interesting information Merg. I'm guessing that he used the SL66 or similar because of some very limited movements on that camera. The late Barry Thornton used the same camera I think.

Ed

 

[Merg Ross]

Thanks for the interesting information Merg. I'm guessing that he used the SL66 or similar because of some very limited movements on that camera. The late Barry Thornton used the same camera I think.

Ed

Yes, Brett was particulary fond of the lens tilt capability of the SL66 and the long bellows. As noted in an earlier post, these features allowed him to use the camera in a manner similar to his use of view cameras. It was a completely different camera from the Mamiyaflex TLR cameras that he had been using, and the associated paralax problems .

 

[Curt]

Merg, can you give us some insight as to why he added the Mamiya RB 67 to his list of cameras he used? I was also wondering what the model / make of the metal tripod he was using in the Art Wright film. I remember having a metal tripod in school and I enjoyed it very much, aluminum with flip locks on the independent legs. I also notice that the tripod is not that tall and he used the center column to bring it up to height in some instances. I enjoy that film frequently and would recommend it to anyone. Still smoke a pipe?

Best,
Curt

 

[Michael A. Smith]

Roger Aikin's essay. I read Roger Aikin's essay when it was written in 1973. It is the best extant writing that compares two photographer's work. I was so impressed with it that when Paula and I were considering publishing the Portfolios of Brett Weston series I looked up Roger Aikin on the Internet. We wanted someone to write a short afterword in each of the volumes in the series and, recalling the essay (which we have in our library in the original issue of the Art Journal) and I could think of no one better than Roger. Fortunately, we found him, met him, and we have become good friends.

Roger Aikin is an art historian (he rediscovered the painting of Henrietta Shore and published an exhibition catalog/book on Shore and Edward Weston among other things). Shore, you will all recall, was a significant influence of Edward's. It was at her studio that he discovered the chambered nautilus.

Anyhow, back to Roger Aikin. He told me that shortly after his essay appeared someone asked Beaumont Newhall why he never wrote anything comparing the photographs of Edward and Brett. Newhall, not happily, replied that he was working on it, but stopped, because it had just been done and he felt he could not do it better.

Roger's essay is in copyright, but I will ask him if perhaps he can assign the copyright (if it is his to assign and not the Art Journal's) to Lodima Press so we can republish it.

The next two books from Lodima Press in the Brett Weston series, Fifteen Photographs of Japan and Europe were printed in September and will soon be available.

Brett was indeed an amazing photographer. In 1975 I photographed with him at White Sands. I looked through his camera a few times (always close ups and very abstract) and on one particular occasion I was amazed at what he had seen. it was so complex and not at all what I expected, and I was standing only a few feet from the subject!

Brett invited me and Paula to go photographing with him in Hawaii, but unfortunately we were unable to get away to join him there.

On another matter: After wanting to do this for many years, Paula and I have finally become APUG Sponsors. See the LODIMA sponsors page. Thanks.

Michael A. Smith

 

[jgjbowen]

Wonderful thread. I just ordered the book Merg referenced from Amazon (one of the used book retailers). I look forward to receiving the two new Brett Weston portfolios from Lodima Press.

John