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Edward Weston Quote About Painters vs Photographers

Edward Weston Photos

Too often I have tried to explain photography, –why it is important! Old stuff! –necessary twenty years ago, –not now! Photographers who still try to paint with the camera should be dismissed with this advice: “Go buy a brush and paint box — you are not worthy nor strong enough to be a photographer.”

Edward Weston, (March 24, 1886 – January 1, 1958)

From the Daybooks of Edward Weston, Two Volumes in One, Mexico & California, page 174.

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About Gina Genis

Hi Friends, I'm a photographer and artist who lives in Washington DC. I have two blogs. The Gina Genis Blog is about art and photography. My new blog, DC Discoveries is dedicated to showing you everything from fashion to art, food to entertainment in all sections of the District. I hope you will take the journey with me. I exhibit my work in museums and galleries across the U.S. I'm included in the permanent collections of the Sackner Archive of Concrete and Visual Poetry, the Otto G. Richter Library Special Collections Division of the University of Miami, Hard Rock Casino, Orange County Transit District, IBM, and the Sarah and Adam Markman Collection among others. My series "Window Peeping" was included in OsCene 2010 at the Laguna Art Museum, Truman State University, Fellows of Contemporary Art, Biola University, and solo shows at Gallery 825 and Cypress College. The "June Gloom" series was exhibited in a solo show at the University of Wisconsin, Madison. The "Kala" series has been exhibited at MPLS Photo Center, Cypress College, and Gallery 825. "Economy Portraits" was created as an Artist In Residence project at the Huntington Beach Art Center, and was awarded "Best Art Show of 2011" by the OC Weekly. I curated Wide Angle View, an exhibit of 16 international, award-winning photo and multi-media journalists at the Orange County Center for Contemporary Art to much critical acclaim. Recent reviews of my work have appeared in the Huffington Post, Art Scene, OC Weekly, Orange County Register, New University, Riviera Magazine, Coast Magazine, Huntington Beach Independent, and appeared on CNN, NBC, ABC, and more. I lead the Gina Genis Photo Workshops where I show beginning and intermediate photographers how to jump to the next level with their work. I also teach online photography courses through The Compelling Image.

4 responses »

  1. If Edward Weston were alive today, I wonder whether the power afforded by digital technology would make him change his mind. Any opinions?

    Steve Schwartzman
    http://portraitsofwildflowers.wordpress.com

    Reply
    • Steve, I wonder the same thing. We can so easily blur the lines between factual and fantasy with software programs. When Weston was working, the novelty of being able to capture every factual detail of an object or person was quite shocking. This is what the medium of photography had to offer above all other mediums. Today, it seems we are experimenting with blurring reality with fantasy. Are we stepping backwards? Only time will tell where this point in photography history will stand.

      Reply
      • You’re right that the people in the f/64 school were playing up photography’s ability to record amazing details—something that stood it above other media. And now it’s digital technology that has an edge when it comes to manipulating the realm of the visual. I worked with film for decades, but I’m not eager to back to the darkroom.

        At the same time, I’ve long been wary of whatever the latest and greatest thing is; newer isn’t necessarily better, and is often worse. And I confess to being a heathen who likes the early Pictorialist photograhs that Weston made before he renounced the painterly tradition.

      • I think that with digital photography in its infancy, we are tipping the seesaw in extreme directions. Digital’s strength is in the ability to transmit images instantly, rather than having to make a physical print. Photographers should not always make each image as if it were to be exhibited in a museum, but our traditional ways of displaying images has radically changed. Prints are no longer necessary. Magazines, newspapers, art galleries, and museums are suffering because the shift in image sharing has moved ahead of them. They will not survive if they do not find ways to jump into the future.

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