A Quote by Edward Weston

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.
I see my finished platinum print (in the viewfinder) in all its desired qualities, before my exposure.
To visualize an image (in whole or in part) is to see clearly in the mind prior to exposure, a continuous projection from composing the image through the final print.
Self-publishing worked for me. Being able to put your work in print, even if it's a tiny print-on-demand print run of a dozen or so copies, shows publishers and editors a completed piece of work and that you can follow through on a project.
I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.
Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.
When you start with an idea, or something hits you, then you have to follow that through to the end, and it's the following through to the end that makes the pattern. That, for me, is choreography.
Invite the Sacred to participate in your joy in little things, as well as in your agony over the great ones. There are as many miracles to be seen through a microscope as through a telescope. Start with little things seen through the magnifying glass of wonder, and just as a magnifying glass can focus the sunlight into a burning beam that can set a leaf aflame, so can your focused wonder set you ablaze with insight. Find the light in each other and just fan it.
...[the photographer] can be considered a kind of disembodied burrowing eye, a conspirator against time and its hammers. His work, print after print of it, seems to call to be shown before the decay which it portrays flattens all... Here are the records of the age before an imminent collapse.
There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent.
In general, I get nervous when I do print interviews because I know that whatever I say is going to be shown through the lens of whomever I'm talking to.
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
Look and think before opening the shutter. The heart and mind are the true lens of the camera.
I feel like the Earth is a re-print of a re-print of a print of a re-print.
I love a wild animal print. Not just a leopard print - I'm talking about a tiger or zebra print, too.
Well, it wasn't really a decision on my part although you always hope as an author that a book that goes out of print somehow winds up back in print. These days publishers like to put out-of-print books into e-book form, but I really wanted to do an update.
There's nobody between you and the print. Nobody. It's you and the subject and the final print. And if you get it published that way, you've said it.
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