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iimacadam's review against another edition
3.0
My review applies to the first edition hardcover from 1988.
This is a good-not-great basic intro to Edward Weston. It is probably not the most enjoyable of the Aperture Masters of Photography Series books I've read (even though EW is my favorite), but it is likely the easiest read, with text that gives a general overview of Weston's life without getting into either technical details or opaquely erudite artistic analysis. Another way to say it is that this omits much of what those already familiar might find interesting, but it's an approachable introduction for the unfamiliar.
The photo reproductions strike me as quite good, though my direct comparison has been limited to examining its Salinas barn photo against the version on the dustjacket of the California and the West 1978 edition. The photo selection I feel a little less enthusiastic about. This includes a number of his most famous shots and a sampling from most of his career, but, considering this is a beginner overview, it seemed like a lot of his best was left out, and some of what was included seems a little random. The total effect of this book feels less impressive than it could be, and I'm glad my introduction to him was instead through Flame of Recognition.
I'm also bothered by some rather egregious sloppiness in the creation of this book, though likely some of my complaints were fixed in later editions.
Edward's sister is introduced simply as May, when her name was Mary "May."
In the section on Edward's activities during the 1910s, in brief reference to the woman of greatest influence during this time, the book says "Her name was Margaret Mather." Except that wasn't her name. It was Margrethe, which she changed it to from Emma Youngreen. That's a disrespectful level of disregard and carelessness.
The listing of photo plates says Ton House instead of Tor House, and China Grove instead of China Cove.
The plate on page 47 is said to be "Dante's View, 1938," which surprised me because I didn't recall seeing that image when I went through the book. When I double checked, the image in question is similar in appearance to EW's 1937 Guggenheim shot from Dante's, but it's of a river, with sandy islands covered in trees and greenery, including what appears to be some pines. Dante's View is of the salt beds on the floor of Death Valley, and I'm unable to find any photo suggesting lush greenery can be found from that view (it was, after all, used as the location for the distant view of Mos Eisley), so I think this one was a mixup.
And the timeline misleadingly says Edward, Tina, and Chandler lived in Mexico City from 1923 to 1926, before correcting and contradicting itself by noting that most of 1925 was spent in California, before returning to Mexico without Chandler.
When such a small book has so many very basic errors, which could have been spotted by the most cursory fact check or look-over by someone familiar with the subject, I have to wonder what inaccuracies I didn't spot and how much the author can be trusted with any of the details. It makes the reading of this book feel like a bit of a waste of time.
In the end, I want to give this four stars for being... basically ok and a highly accessible Weston introduction... but can't justify more than three. It's still a good book and a decent quick intro, but it's just too careless, too lazy, and too unimpressive. If you're collecting the Masters of Photography series, certainly go ahead and get it, it's fine. If you're looking for a cheap and quick introduction to Edward Weston, start with Flame of Recognition instead.
This is a good-not-great basic intro to Edward Weston. It is probably not the most enjoyable of the Aperture Masters of Photography Series books I've read (even though EW is my favorite), but it is likely the easiest read, with text that gives a general overview of Weston's life without getting into either technical details or opaquely erudite artistic analysis. Another way to say it is that this omits much of what those already familiar might find interesting, but it's an approachable introduction for the unfamiliar.
The photo reproductions strike me as quite good, though my direct comparison has been limited to examining its Salinas barn photo against the version on the dustjacket of the California and the West 1978 edition. The photo selection I feel a little less enthusiastic about. This includes a number of his most famous shots and a sampling from most of his career, but, considering this is a beginner overview, it seemed like a lot of his best was left out, and some of what was included seems a little random. The total effect of this book feels less impressive than it could be, and I'm glad my introduction to him was instead through Flame of Recognition.
I'm also bothered by some rather egregious sloppiness in the creation of this book, though likely some of my complaints were fixed in later editions.
Edward's sister is introduced simply as May, when her name was Mary "May."
In the section on Edward's activities during the 1910s, in brief reference to the woman of greatest influence during this time, the book says "Her name was Margaret Mather." Except that wasn't her name. It was Margrethe, which she changed it to from Emma Youngreen. That's a disrespectful level of disregard and carelessness.
The listing of photo plates says Ton House instead of Tor House, and China Grove instead of China Cove.
The plate on page 47 is said to be "Dante's View, 1938," which surprised me because I didn't recall seeing that image when I went through the book. When I double checked, the image in question is similar in appearance to EW's 1937 Guggenheim shot from Dante's, but it's of a river, with sandy islands covered in trees and greenery, including what appears to be some pines. Dante's View is of the salt beds on the floor of Death Valley, and I'm unable to find any photo suggesting lush greenery can be found from that view (it was, after all, used as the location for the distant view of Mos Eisley), so I think this one was a mixup.
And the timeline misleadingly says Edward, Tina, and Chandler lived in Mexico City from 1923 to 1926, before correcting and contradicting itself by noting that most of 1925 was spent in California, before returning to Mexico without Chandler.
When such a small book has so many very basic errors, which could have been spotted by the most cursory fact check or look-over by someone familiar with the subject, I have to wonder what inaccuracies I didn't spot and how much the author can be trusted with any of the details. It makes the reading of this book feel like a bit of a waste of time.
In the end, I want to give this four stars for being... basically ok and a highly accessible Weston introduction... but can't justify more than three. It's still a good book and a decent quick intro, but it's just too careless, too lazy, and too unimpressive. If you're collecting the Masters of Photography series, certainly go ahead and get it, it's fine. If you're looking for a cheap and quick introduction to Edward Weston, start with Flame of Recognition instead.
chattycathy55's review
5.0
It is so cool to have his words next to the photographs giving the reader some insight into his life and thought processes. I love his portraits. You feel like you know each person intimately. His landscapes I have more of a love-meh relationship with
Depending on the photos. As I learn more I will come back and perhaps see them differently.
Depending on the photos. As I learn more I will come back and perhaps see them differently.
tracydurnell's review
5.0
A stupendous book. The photographs are nicely printed on thick paper, large, each singly on a page opposite a brief related excerpt from his notebooks. The quotes add to the understanding of the work more often than not. They also make clear that this was a man fully passionate about his work, and also with no lack of confidence.
The photographs themselves are classic. And yet, many of them are now familiar in form and composition, as he was a leader in the field and others followed his lead. It is interesting to reflect on the photos both as art themselves, and also as objects of their time. How valuable are they as art today? How good are they, now? And how much did they shape the field coming when they did?
The introduction shared Weston's biography, which helped with following his body of work over time. I knew very little about him before, aside from having seen his classic pepper photos and some dune shots.
The cover of the hardback version I have is a brown fabric with an embedded printed photo of his famous folded nude. Be careful about putting it face down, as I scratched the photo a little bit on some grit. The book is large and heavy, so a little awkward to hold, but that allows the photos to be seen in large format, which makes it worth it.
The photographs themselves are classic. And yet, many of them are now familiar in form and composition, as he was a leader in the field and others followed his lead. It is interesting to reflect on the photos both as art themselves, and also as objects of their time. How valuable are they as art today? How good are they, now? And how much did they shape the field coming when they did?
The introduction shared Weston's biography, which helped with following his body of work over time. I knew very little about him before, aside from having seen his classic pepper photos and some dune shots.
The cover of the hardback version I have is a brown fabric with an embedded printed photo of his famous folded nude. Be careful about putting it face down, as I scratched the photo a little bit on some grit. The book is large and heavy, so a little awkward to hold, but that allows the photos to be seen in large format, which makes it worth it.