The camera sees more than the eye, so why not make use of it?
Edward WestonRead
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.
Interpretation
The quote reflects the process of artistic photography as a journey of discovery and expression.
Edward Weston emphasizes the importance of the creative process in photography, where the initial idea begins with a sense of discovery. This journey continues as the artist observes and captures the subject through their unique perspective, culminating in a final print that represents a faithful duplication of their vision and emotions, without any alterations post-capture.
In practice
This quote can be used in a photography workshop to inspire attendees about the creative process.
The camera sees more than the eye, so why not make use of it?
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.
Why limit yourself to what your eyes see when you have an opportunity to extend your vision?
Consulting the rules of composition before taking a photograph, is like consulting the laws of gravity before going for a walk.
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.
Photography to the amateur is recreation, to the professional it is work, and hard work too, no matter how pleasurable it my be.
If you have a career like mine, which is so identified with Hollywood, with big studios and stars, you wonder if maybe you shouldn't go off and do what the world thinks of as more personal films with lesser-known people. But I think I've fooled everybody. I've made personal films all along. I just made them in another form.
The script is what you`ve dreamed up - this is what it should be. The film is what you end up with.
What has our culture lost in 1980 that the avant-garde had in 1890? Ebullience, idealism, confidence, the belief that there was plenty of territory to explore, and above all the sense that art, in the most disinterested and noble way, could find the necessary metaphors by which a radically changing culture could be explained to its inhabitants.
I'm suspicious of the idea of categories in music and this idea of things being in boxes. To me, that seems unnatural. I write the music that somebody with my biography would write, and the thing that's always driven me is an enthusiasm for the material. I sort of follow the notes to where they want to go.
It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.
Painting is the passage from the chaos of the emotions to the order of the possible.
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