Brett and Edward Weston

[Shawn Dougherty]

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

I missed the USED retailers! Thanks, John.

 

[Merg Ross]

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

Yes the pipe, Brett called it his "social crutch". He was a shy individual, although those who did not know him well would refer to his large ego. Not the case, but fame is often accompanied by distortion.

It is important to realize that Brett was very poor until about 1968. This changed with the sale of his dad's work, along with a large number of his own, to Bill Lane. Before that, "snake time" was accompanied with cheap sherry on ice, unless an "affluent" guest would arrive with Brett's favorite, Jim Beam. Sometimes I had the honor.

I mention this state of finances, because much of what is associated with Brett occurred after 1968; his fancy cars, three houses, expensive darkroom and field equipment, and numerous trips abroad.

As to his 120 film cameras, prior to receiving the Rollei outfit, he had used the TLR Mamiyaflex, mostly for portraits. The Rollei, however, had many advantages as noted earlier, and was responsible for much of the work for which Brett is famous. Obviously, work that would not have been possible with the large camera. With his finances in a healthy state, he was able to add other roll film cameras, including a Pentax, and Mamiya SLR. He usually had the 5x7 Linhof with him on trips after he was unable to use the 8x10.

The first significant health problem to beset Brett was in 1979. What was diagnosed as a spider bite, developed into a massive infection and loss of muscle in his arm. I visited him in the hospital and he was in a predictable low state. However, he had something he wanted to show me that afternoon that brought a smile to his face; the architectural drawings of the house that he was going to build in Waikoloa. The house was completed in 1980. Brett was released from the hospital two days after my visit, but his big camera days were pretty much over.

As for me, I gave up the pipe fifteen years ago. Brett introduced me to the vice at an early age. Every so often Brett would give up his pipes, with a great ceremony of burning the briar in his fireplace; "Merg, I'm quitting for good", he would announce, much to my disappointment, because we liked to share tobacco. However, the cessation was short, and by our next visit he had been to Walgreens to pick up a couple of cheap pipes. He would break in a new pipe by filling it, lighting it, and holding it out the truck window as he sped down the highway. This was a ritual that I witnessed many times over the years.

 

[skillian]

Merg - Always thankful for your stories about Brett. Your excellent portrait of him hangs in my work area. Knowing him as well as you did, what do you think he would make of photography today?

 

[Andrew A.]

Mr. Ross...your contributions to this thread are a true delight, I always enjoy reading your posts - thank you... and, by the way, your photographic images are right up there with the great B&W talents.

Andrew

 

[Curt]

Yes the pipe, Brett called it his "social crutch". He was a shy individual, although those who did not know him well would refer to his large ego. Not the case, but fame is often accompanied by distortion.

It is important to realize that Brett was very poor until about 1968. This changed with the sale of his dad's work, along with a large number of his own, to Bill Lane. Before that, "snake time" was accompanied with cheap sherry on ice, unless an "affluent" guest would arrive with Brett's favorite, Jim Beam. Sometimes I had the honor.

I mention this state of finances, because much of what is associated with Brett occurred after 1968; his fancy cars, three houses, expensive darkroom and field equipment, and numerous trips abroad.

As to his 120 film cameras, prior to receiving the Rollei outfit, he had used the TLR Mamiyaflex, mostly for portraits. The Rollei, however, had many advantages as noted earlier, and was responsible for much of the work for which Brett is famous. Obviously, work that would not have been possible with the large camera. With his finances in a healthy state, he was able to add other roll film cameras, including a Pentax, and Mamiya SLR. He usually had the 5x7 Linhof with him on trips after he was unable to use the 8x10.

The first significant health problem to beset Brett was in 1979. What was diagnosed as a spider bite, developed into a massive infection and loss of muscle in his arm. I visited him in the hospital and he was in a predictable low state. However, he had something he wanted to show me that afternoon that brought a smile to his face; the architectural drawings of the house that he was going to build in Waikoloa. The house was completed in 1980. Brett was released from the hospital two days after my visit, but his big camera days were pretty much over.

As for me, I gave up the pipe fifteen years ago. Brett introduced me to the vice at an early age. Every so often Brett would give up his pipes, with a great ceremony of burning the briar in his fireplace; "Merg, I'm quitting for good", he would announce, much to my disappointment, because we liked to share tobacco. However, the cessation was short, and by our next visit he had been to Walgreen's to pick up a couple of cheap pipes. He would break in a new pipe by filling it, lighting it, and holding it out the truck window as he sped down the highway. This was a ritual that I witnessed many times over the years.

Yes the pipe, Brett called it his "social crutch". He was a shy individual, although those who did not know him well would refer to his large ego. Not the case, but fame is often accompanied by distortion.

It is important to realize that Brett was very poor until about 1968. This changed with the sale of his dad's work, along with a large number of his own, to Bill Lane. Before that, "snake time" was accompanied with cheap sherry on ice, unless an "affluent" guest would arrive with Brett's favorite, Jim Beam. Sometimes I had the honor.

I mention this state of finances, because much of what is associated with Brett occurred after 1968; his fancy cars, three houses, expensive darkroom and field equipment, and numerous trips abroad.

As to his 120 film cameras, prior to receiving the Rollei outfit, he had used the TLR Mamiyaflex, mostly for portraits. The Rollei, however, had many advantages as noted earlier, and was responsible for much of the work for which Brett is famous. Obviously, work that would not have been possible with the large camera. With his finances in a healthy state, he was able to add other roll film cameras, including a Pentax, and Mamiya SLR. He usually had the 5x7 Linhof with him on trips after he was unable to use the 8x10.

The first significant health problem to beset Brett was in 1979. What was diagnosed as a spider bite, developed into a massive infection and loss of muscle in his arm. I visited him in the hospital and he was in a predictable low state. However, he had something he wanted to show me that afternoon that brought a smile to his face; the architectural drawings of the house that he was going to build in Waikoloa. The house was completed in 1980. Brett was released from the hospital two days after my visit, but his big camera days were pretty much over.

As for me, I gave up the pipe fifteen years ago. Brett introduced me to the vice at an early age. Every so often Brett would give up his pipes, with a great ceremony of burning the briar in his fireplace; "Merg, I'm quitting for good", he would announce, much to my disappointment, because we liked to share tobacco. However, the cessation was short, and by our next visit he had been to Walgreen's to pick up a couple of cheap pipes. He would break in a new pipe by filling it, lighting it, and holding it out the truck window as he sped down the highway. This was a ritual that I witnessed many times over the years.

Merg, I remember the first part of the 1970's seeing the photographs of the Weston's and Ansel Adams selling for very little. One can only imagine how anyone could make a living except for portraits and some commercial work. It's a lot like the old saying about it taking half a century to become an overnight success.

Curt

 

[Merg Ross]

Merg - Always thankful for your stories about Brett. Your excellent portrait of him hangs in my work area. Knowing him as well as you did, what do you think he would make of photography today?

Hi Scott, thanks for the good word. My 1969 portrait of Brett at Point Lobos smiles at me every day, also. That was a smile reserved for friends, and he was talking to my wife when I clicked the shutter.

To your question, and of course as conjecture from one who knew him for over forty years, I would answer accordingly.

Brett was never immensly interested in the current trends in photography or the work of other photographers. He had no use for "art critics", and cared little about their writings. Photography was his passion, and we have the results. Today, as film and paper are still available, Brett would be making silver gelatin prints. He would compare those with what is being produced digitally, and feel confident that the silver print is the superior vehicle for his vision.

He would never, never, never have the patience to sit in front of a monitor. If all silver products were to vanish, he would return to wood sculpture, and expand his great skills as a sculptor.

 

[Merg Ross]

Mr. Ross...your contributions to this thread are a true delight, I always enjoy reading your posts - thank you... and, by the way, your photographic images are right up there with the great B&W talents.

Andrew

Andrew, thank you for your kind comments.

Recently, my dear friend of fifty years, Ira Latour, suggested that I should write down the many memories of my experiences in photography. Ira is a fine photographer and an excellent historian of photography, with a West Cost emphasis. We have lamented over the years, on how so much history that he and I have lived is already being rewritten.

Alas, I say, I would rather spend my time photographing!

Ira has just celebrated his 90th birthday, and I attended his most recent exhibit in October.

However, I do enjoy checking in here occasionaly.

This link may work for Ira, although I see he has taken down his bio link.

http://www.carlmautz.com/index.php?main_page=index&cPath=1_5_42

Best,
Merg

 

[PaulW128]

Merg;

I just received the Brett DVD from Art Wright. I watched it today. Great stuff!! I really enjoyed it. I ordered the book from Carl Mautz but it hasn't arrived yet.

Thank you again for those links

Best
Paul

 

[Michael Kadillak]

Just ordered the DVD. THis is one of the most interesting and informative post in a very long time. Thanks for taking the time Merg to share with us. Very gracious of you.

Cheers!

 

[Merg Ross]

Merg;

I just received the Brett DVD from Art Wright. I watched it today. Great stuff!! I really enjoyed it. I ordered the book from Carl Mautz but it hasn't arrived yet.

Thank you again for those links

Best
Paul

Paul, you are most welcome; glad to hear that you received the DVD and enjoyed it. Often I have mentioned that Art did an excellent job of capturing some of Brett's special qualities; as filmmaker Bob Katz commented, " ...Brett came through as he is..

Quite some time had passed between the original filming in 1970-71 and Art's release of the DVD in 2003. I was present for portions filmed around Carmel in 1971, but had forgotten about Art's project until he contacted me a few weeks before the release in 2003. I could sense his excitement, and several weeks later he was at my door with the DVD.

We spent a wonderful afternoon viewing his DVD, and reminiscing about Brett. I had forgotten the sequence of photographing with Brett at Point Lobos in 1971 that Art included in the film. He captured something special, one of the many times that Brett and I photographed together at that wonderful place, Weston Beach.

Congratulations to Art, well done!

Best,
Merg

 

[jgjbowen]

Now I'll have to go view my copy again to see how Merg looked 40 years ago. This is one of my favorite photo DVDs and the bonus of having all of those Brett Weston images really makes this disk a tremendous bargain. Highly recommended!

 

[Merg Ross]

Just ordered the DVD. THis is one of the most interesting and informative post in a very long time. Thanks for taking the time Merg to share with us. Very gracious of you.

Cheers!

Michael, it is always a pleasure for me to talk or write about Brett. He was much more than a master photographer; his qualities as a person and friend were unique.

I hope that you enjoy Art's short film and will report back.

Thanks for your comments.

Best,
Merg

 

[Curt]

The DVD is great, I've had one for quite a while and view it every once and a while, in the darkroom Art doesn't show any enlarging equipment, Merg can you tell us what enlarger he used? I had the opportunity to buy Cole Weston's enlarger, but it was extremely large and heavy. I received a nice letter from a family member, the enlarger was in storage in Carmel disassembled and just taking up space, I would have had to build another darkroom just to fit it in.

Curt

 

[Merg Ross]

The DVD is great, I've had one for quite a while and view it every once and a while, in the darkroom Art doesn't show any enlarging equipment, Merg can you tell us what enlarger he used? I had the opportunity to buy Cole Weston's enlarger, but it was extremely large and heavy. I received a nice letter from a family member, the enlarger was in storage in Carmel disassembled and just taking up space, I would have had to build another darkroom just to fit it in.

Curt

Curt, when Art made the film, Brett was still living in the Carmel Highlands house that my father had designed for him. Many of my Friday's during my senior year in high school were spent on the construction of that house. Yes, I was a Friday truant. Brett joked to me that he had only made it to the sixth grade, so I probably wasn't missing an education. I think he was right; we worked on that house, and the detached studio with his darkroom, for about five months; other friends joined in, and Brett's brother Neil was lead carpenter. It was a fun time.

Again I degress. So, when Art made the film, Brett did not have the large darkroom space that he later had at the Carmel Valley house, where a converted bedroom became the darkroom. Remember, up until Brett started using the Rollei regularly, he had little need for enlargers; a counter for contact printing was sufficient. The first enlarger that I recall was a Beseler configured with a point source light. Later, in the Carmel Valley darkroom he used a floor standing Durst for enlarging his 8x10 negatives.

 

[gbenaim]

One more request for a PDF of the article, I'd love to read what Aiken wrote back then.

 

[Curt]

Now that's interesting, I thought the house he lived in was the only house he had in Carmel, in the Highlands, the one your father designed for him. I wasn't aware that he moved to the Valley, that must have been in the late 1970's. That's where the swimming pool with the observation glass was put in I suspect. Before he had an enlarger he was printing in the same way that Edward Weston was printing with the exception of the larger format, 11x14 it appears.

In a later interview, I believe it was '83 he said he would have talked his father out of keeping his negatives and he was not in favor of the Edward Weston archives being put in the Center for Creative Photography. I see they have Brett Weston as having an archive there. I thought his archive was in the hands of a private individual?

His reasoning was that no one could print a print as the original photographer would have so it was wrong to have the negative out there available to others. This seems opposite of what Ansel Adams said, he said his prints are his interpretation and what others do is their business but he wouldn't object to their making an interpretation.

This is a long argued topic I know but I am wondering if the legacy of an individual is prolonged and or increased by having their material out in the public either in the original form or as an interpretation. After all some books are bad and some are good as the reproductions go. I read somewhere that Ansel Adams said a particular print looked better to him as a print in a book than the original "interpretation" did. I'll leave that to others to decide, each photographer has to decide what to do in the end or maybe do nothing and leave the work to the World to decide. I wonder how much has been lost due to neglect, like the paintings found in attics hundreds of years after the artist has died. Now I digress.

Curt


http://www.creativephotography.org/collections/research/lists.php

 

[Curt]

One more request for a PDF of the article, I'd love to read what Aiken wrote back then.

I would love to get the .PDF too if possible.

Curt

 

[Michael Kadillak]

I would love to read the article as well if at all possible.

Cheers!

 

[Jeremy]

It is rather amusing to see all of these people popping up to request the article for free, but I wonder if they would be up in arms if the copyright of a photographer was infringed upon in a similar manner....

Just thinking out loud.

 

[djhopscotch]

It is rather amusing to see all of these people popping up to request the article for free, but I wonder if they would be up in arms if the copyright of a photographer was infringed upon in a similar manner....

Just thinking out loud.

"Permitted Uses also may be undertaken remotely through secure access methods:

on an ad hoc basis and without commercial gain, sharing discrete Textual Content or Specimens with an individual who is not an Authorized User for purposes of collaboration, comment, or the scholarly exchange of ideas"

From JSTOR Tos.

 

[SoonerBJJ]

I would love to view a copy of the PDF if possible. Thanks!

 

[Jeremy]

"Permitted Uses also may be undertaken remotely through secure access methods:

on an ad hoc basis and without commercial gain, sharing discrete Textual Content or Specimens with an individual who is not an Authorized User for purposes of collaboration, comment, or the scholarly exchange of ideas"

From JSTOR Tos.

I doubt a "me too" on an internet forum constitutes "collaboration, comment, or the scholarly exchange of ideas" nor does sending it en masse via email to 10 or 12 people really fall under "ad hoc", but I was just playing devil's advocate anyway.

 

[Vaughn]

I had the pleasure to see Brett Weston show his work to a collection of us students back in the late 80's (possiblly as late as 1991 or early '92) -- can't remember exactly when. He came thru Humboldt County and stopped to visit one of our photo professors (who I believe was an assistant of his for a short while). Brett would just show one print after the other, never saying anything and not wanting any questions asked while he was showing them. One of the best possible way to be exposed to his work!

I will try to see if I can get the PDF through our university -- or ask the same professor if he has a copy of it.

Vaughn

 

[doughowk]

A problem with the Aikin essay is seen in the Kelp image description - it suggests Brett was very methodical. Quoting: "Brett has been careful to present a balanced ratio of incomplete and relatively complete kelp stems", or "Notice the precise intervals in the relationship of these two kelp stems to the
frame." or, "Further perusal of Brett's composition reveals how carefully constructed the picture really is. "
Yet we have on other authority that Brett was very intuitive in his selection and composing. He was very confident in his abilities, so did not need to resort to analytical appraisals. Just a minor point.

Btw, the Halford-MacLeod essay in "Out of the Shadow" book covers similar ground to Aikin's essay.

 

[Merg Ross]

.... Brett was very intuitive in his selection and composing. He was very confident in his abilities, so did not need to resort to analytical appraisals.

Precisely!