A Day At Edward Weston's Home

Discussion in 'Large Format' started by todd frederick, Apr 24, 2004.

  1. I simply want to say that I spent a wonderful day at the beautiful rustic home of Edward Weston on Wild Cat Hill near Carmel CA today. The event was led by his grandson Kim Weston, and his wife Gina, who live there. Although I learned much about simplifying my LF technique, the experience of being in Edward's home, where he lived and died, was emotionally awesome. Kim Weston has many workshop offerings, and you might want to check their web site: http://www.kimweston.com/ I found both Kim Weston and Gina to be up-beat, non-critical, and this was one of the most wonderful of experiences of my life. I am attaching a photograph I took today with my tiny digital of Kim Weston printing one of his grandfather's negatives in Edward Weston's original darkroom. I have not been doing much LF photography for a year or so, but after today I have increased enthusiasm. I guess we sometimes need a good kick in the butt!
  2. One other tid-bit is that where I am standing in the darkroom (very small)to take the photo, right behind me, is a small covered window that can be opened if needed. In the next photo, in the upper left corner of the building from the outside, you can see this closed window. Edward Weston spent the last years of his life living and working in this building. His home is about 2 miles from Point Lobos, to which he walked daily to photograph, since he never drove a car. His home is very beautiful. I just want to sahre my experience.
  3. Todd

    I was at point lobos a few months ago and I drove around looking for wildcat hill but could not find it. I didn't want to impose either. I wish I could have seen it first hand as you did. I will however return next year.

    Any other pics?
  4. Sam, I have about a hundred photos I could show. The place is a photographer's paradise, if you're into old wood, little detail subjects and flowers. It is much more colorful now than it was in Edward's day. Check out the website. There is a house behind the main house which is called Bodie House. This was Charis Wilson Weston's writing gallery and is available to the public to spend the night. Not much more than an up-scale motel! Kim Weston built a studio in the garage and he does nearly 100% figure studies there with natural light (skylights) and 8x10 B/W film. See attached photo. They offer a Platinum printing workshop, which fills fast. That I would like to take someday. I saw some 4x5 and 8x10 contacts from the platinum process which were gorgeous! No dark darkroom is involved. That's my kind of darkroom! I'm attaching a couple more photos, but I don't want to take up too much space on the forum.
  5. This is a room added to the main house when Edward became ill with Parkinson's Disease. Prior to that he had a bed in the living room (actually the main house was only one room anyway).
  6. This is a photo of Kim Weston in his studio with his new Arca Swiss 8x10.
  7. Todd, Thank you for sharing your experience, and the photos. I'm sure that for many particpants in this forum, myself included, Edward Weston and his work have been a tremendous influence and inspiration. As an East Coast resident, it is unlikely I'll have the oppurtunity to visit Wildcat Hill. Again, thank you.
  8. Nick,

    As a West Coast resident, and not inclined to travel east at this time, I also doubt I'd be able to visit the George Eastman House museum, MOMA, and many of the other wonderful photographic attractions out your way. I'd love to visit Clyde Butcher's Big Cypress Gallery in Florida.

    So, I guess this is one way we can bring experience to each other. It is my pleasure sharing some of these photos and happenings.
  9. PS: even though this was not a large format workshop, but more oriented to the Weston family history, Kim Weston did demonstrate the contact printing method of his grandfather, using Amidol, an 8x10 negative, using a tiny 7 watt bulb dangling from the ceiling, using a 3 minute egg timer for development timing, and using very simple, straight forward methods to make quality prints, as did his grandfather, with minimal manipulations. He also showed simple methods of LF negative development in trays, inspection methods, using premixed Pyro, and how he works in his studio with an 8x10 without an exposure meter. His approach is that consistency involves a simple, repeatable method with as few variables as possible. I learned more than I had anticipated. It stimulated me to think seriously about doing a bit more LF photography than I have been doing over the past few years.
  10. Thanks, Todd, for the excellent report. I would imagine that it would be hard not to be inspired after a visit like that.
  11. I want to add one more photo and some info on Edward's darkroom and method of printing. The photo is a view of Edward Weston's darkroom toward the printing table. What impressed me most is the simplicity of it all. Forgive the poor quality of the digital print. It was a bit dark and I did not want to use flash. It looks far more real in natural light. It was handheld with an Olympus C-5050 and Kim moved, which is ok. In the lower left corner is the smallest of Edward's paper cutters. Out of the picture is a larger unit. Behind that was his most expensive piece of equipment: a dry mount press. They were often so poor, he and his son Brett frequently mounted prints using both sides of the mounting board, Edward's on one side and Brett's on the other. Edward's regular practice was to develop a sheet of film and make only a few prints, and move on the something else. He never work with mass production. Original prints are very rare. Most that we see are reprinted by his son Cole and later his grandson, Kim. On the wall over the paper cutter is a print made by Al Weber, of rocks and the ocean. There are many prints in the darkroom, mostly historical photos of Edward. The darkroom is neat but not antiseptically clean. There are glass ring stains on the printing table. I was wondering about the history of how they got there and how old they are. Behind Kim Weston is the printing table. The print frames are all original as are all the dodging wands. You can see the tiny 7 watt white bulb about 3 feet above the table (which you can buy in any hardware store with cord). Most exposures are 10+ seconds. The height of the light can be adjusted to keep the exposures at 10+ seconds. All prints are processed for 3 minutes using a egg hourglass timer, which sits right in front of a safelight. Edward's original printing light was much larger since the paper speeds at that time for paper was much slower. The process was to make two tests and then the final print: test strip at 10, 15, 20, 25 seconds. Choose the best density and make full print. Check full print for areas needing burning and dodging. Again, these are all contact prints. Nothing was ever done with double developers, multiple fixing, no toning. The fixer is straight Hypo: not rapid fixer. This plan can be done with 4x5 easily. Edward used amidol developer. If you look at the first photo I posted, you will see one of the original bottles of his Amidol (with the yellow label). I'm not sure what Kim said he now uses. Amidol will turn your fingernails black. Trivia idea: Edward drilled tiny holes along the very far edge of his dark slides in different patterns, which would apprear in the negative. That way, if the holder had a light leak, he could immediately find the correct holder. Edward paid his son Cole a penny for each light leak he could find in the darkroom. Everything was very simple. Modern amber safelights are now used in the old darkroom, however. Edward's darkroom is about 5x8 feet with running water and long sink, with very little ventilation, gasp!. He kept a safelight under the developer tray, pointed up, to keep the tempperature constant! If I think of any other intersting tid-bits, I'll pass them on. i hope this is interesting to some of you. i am fascinated by the history of artists and photographer's lives.
  12. Todd, that's very interesting that he used premixed Pyro. I thought it had to be mixed immediately before use.
  13. Very interesting Todd, I hope you post more photos. One thing I wonder about, are there any descendents of Weston's cats living at Wildcat Hill? I also looked for this place last time I was up that way, but could not find it...
  14. There is a video, "The Roots of California Photography- the Monterey Legecy" that includes an interview with Kim Weston at his house talking about his father. Ther are also interviews with Ansel Adams, Morley Baer, John Sexton, etc. that anyone who is intersted in this posting would like to view. It is available at http://www.ucsc-extension.edu/roots/
  15. Regarding Pyro: Kim Weston mentioned that he buys it in liquid form, and I forgot the supplier. I will e-mail him to get that information. ABC Pyro in powder form is extremely toxic and is just too risky to mix. He does use bare hands to process the negs since he can not feel the film with rubber gloves. Skin contact with Pyro is also toxic and you must wash your hands thoroughly. I think I'll stick with HC110! I'll get the info on the source of the liquid Pyro. I am attaching a photo of Kim Weston in his own darkroom. He is mixing the developer and the small bottle of Pyro is behind his hands. I will then post a photo of Edward Weston's desk where his Daybooks were written. I also asked about his original 8x10 camera. Edward's camera is at the Smythsonian (but it packed away). Kim is going to try to get it from them, on loan, for workshop purposes. Interesting history. If you want to visit the house you can spend the night in their guest house. It cost $150 per night, which isn't much more than most hotels in Monterey and Carmel! What an experience that would be! Wild Cat Hill is not open to the public, but you can make arrangements. There is only one cat at the home now. Edward had 38! The first thing I did on arrival was to walk over to the bathroom, kicked a cat dish that Gina Weston made, and broke it! Fortunately the break was neat and can be fixed, but I touched very little after that. Ansel Adams' home is located near-by but is not open to the public. Kim thinks that one of his children lives there. Ansel's darkroom is still functional and I think it is used to print his Special Edition prints, but I stand corrected on that.
  16. This is Edward Weston's desk. It was kept at Cole Weston's home for many years and is now back at Edward's house.
  17. Some of you asked about his cats and such. This is a vintage photo taken from the web site of Edward and Charis and his cats on the patio behind the house about 1940+/-

    The following photo is the same place today.
  18. Patio Today
  19. Todd, maybe the Pyro was "pre-disolved" but the developer (ABC) mixed just prior to use? (I get PKM in liquid form (two bottles) from Photographer's Formulary.)
  20. Bill,

    I'm trying to check out this liquid Pyro issue. I'll let you know. I do remember that he talked about the problem of inhaling the powder, and that the liquid version was safer. He also said that he used to use HC110 but the Pyro produces a longer tonal scale. He also mentioned where he buys it, but I forgot the name of the company. I'll let you know when he gets back to me.
  21. Bill,

    I called Gina Weston about 10 minutes ago, and the liquid Pyro can be obtained from this company:


    It is a bit different from the original ABC Pyro in powder form but retains many of the original characterstics. Check it out. she told me that Kim was printing right now using Edward's old ABC formula, so there are differences.


    In an answer above I gave exact directions to the Weston House. Gina asked me to request that the directions be deleted. They are not equipped to have unannounced visitors. It is their home, and the place of business for Kim (he can not take time for tours), and they request their privacy. Please contact them in advance if you want to spend the night in the guest house or to attend workshops. Please do NOT arrive unannounced. Thank you.
  22. Hi Todd, since these pictures were taken at a private residence, can you even publish them on photo.net without written permission? I believe there are pictures on kimweston.com's site if people actually want to see the place...
  23. Jon, I do not know the answer to your question. I spoke with Gina Weston today (Kim's wife) and she seemed deligheted (an LF forum member in Scotland clued them into this posting!!!)...after all...I am telling all of you that these are wonderful workshops, these are wonderful loving creative people, I gave you their web site address, and I am encouraging you to attend one or more of their workshops sometime in the future. We had people there from Idaho! You can spend the night at the Weston house. Their workshop coordinator, Randy Efros, (see his photo below), says you can advance more on one weekend in a workshop with a mentor, than reading books for years. I agree. I learned more on that one Saturday than I learned over 20 years of trial and error on my own. I'm ready to go! So, my digi photos help to promote the workshop idea and I see no reason why there would be any objection to my posting the photos. Nothing was negative or derogotary. I would strongly encourage you to take one of their workshops or a workshop in your area. Isn't it sad that so many of us nowdays get hung-up with the threat of law suits and copyright issues?! I don't worry about it any more!
  24. ABC Pyro in powder form is extremely toxic and is just too risky to mix.
    This is just not true. ABC or more exactly pyrogallol has a very small vapor pressure and it is not airborne as easily. Mixing ABC from scratch is not more dangerous than mixing D-76 which contains hydroquinone (a very close relation to pyrogallol). As a matter of fact hydroquinone in the right formulation will stain negatives just like pyrogallol or catechol.
    If you mix any developer which contains Hydroquinone, you are exposing yourself to the same level of danger as you do with pyrogallol. I dont know where this "extremely toxic" rumor got started, but unfortunatelly it seems to be propagated by the uninformed. If Kim Weston told you this, you can tell him on my behalf he is wrong.
  25. Todd requested that I edit out the detailed directions to the house from one of his posts. In view of Gina's wish, I have done so.
  26. Rob...Thank you.

    Toxic Pyro...I think many photo chemicals are toxic and I just don't like using them. I recall that he said if the powder is inhaled it is toxic, and should be handled carefully. I won't even use selenium any more. I did Cibachromes many years ago, and that was very toxic as well. I prefer liquid chemicals.

    I just checked a dictionary under Pyrogallol: "a white, poisonous, phenolic compound,C6H3(OH)3, used as a developer in photography..." Interesting.

    Cat photo...sorry about the undisplayable image.

    Anyway, the event was very enjoyable and I learned a lot. Perhaps some of you could share your workshop experiences from time to time.
  27. I just checked a dictionary under Pyrogallol: "a white, poisonous, phenolic compound,C6H3(OH)3, used as a developer in photography..." Interesting.
    Last time I checked the people who edit dictionaries are not chemists, nor do they work in industrial hygene. This is precisely the point, an opinion becomes a "fact" once many uninformed persons repeat it. If you state your opinion and fear of the developers that is fine, but making a cathegoric statement that pyro is "extremely dangerous" is false, and shows a high level of ignorance on the chronic as well as acute toxicity of chemicals. Just as an example, if you eat spinach, you are eating ferric oxalate, a poison, if you use sweeteners, in the right amount they are poisonous. There is more to the effect of chemicals than what the dictionary says...
  28. I just thought it was interesting. I'm not a chemist, don't want to be, and I'm not trying to make an issue on this. I only wanted to share some experiences of the workshop and the Weston home.
  29. I just thought it was interesting
    What did you think it was interesting? you lost me here...
    In any case I dont want to make an issue of it either, I am just posting information that is accurate. If you are not a chemist, nor want to be one, then perhaps you should not be posting false information about chemicals..no?
  30. Jorge, I am simply repeating a statement made at the workshop by Kim Weston, who's opinion I accept as reliable, who has a good knowledge of photographic chemistry, over 40 years of hands-on experience working with his father Cole Weston and with his uncle Brett Weston, and working as one of the printers of the Edward Weston special edition prints. I respect his opinion much, much more than I respect your's! Pyro IS toxic and should be handled carefully. Other photographic chemicals are also toxic and should be handled with care as well. This includes selenium, hydroquinone, and developers containing metol which can cause skin problems with some people. Acetic acid is also toxic. I would not want to drink it and the vapors are very noxious. All darkroom work should be done with good ventillation and basic safety measures. I am not passing on any false statements and I resent that accusation. Also, if I mention on this forum that I saw a demonstration of the use of a toxic chemical, and suggest that it might be interesting to try it, such as Pyro, I think I have the moral responsibility to mention that the use of such may have toxic side-effects for those who may not be aware of the potential dangers. I don't know why this Pyro issue has become such an obsession with you. I don't even know you or your qualifications, and I really don't care. I posted and up-beat, positive, non-argumentative report of an enjoyable workshop experience, and, for whatever personal reason you have, you want to turn it into a viscious debate of "I'm right and you're wrong!" I don't care who's right or wrong. Please discontinue your off-topic debate. End of discussion.
  31. Todd,
    I am glad that you posted this about Weston. I also found it one of the more interesting posts I've read on here. Have you read Claris Weston's book? I found Edward quite an interesting character. More pictures please.
  32. Joe, I have not read Charis' book. It's on my list. She is still living and visited the house a few months ago to be a part of a documentary on the weston family. I met her in 1976 at a workshop at Foothill College in Los altos CA along with Adams. She is a lively and direct person. I think she's about 92 and lives in Aptos CA. Read Edward's Daybooks. They are a wonderful insight into the inner life of a great artist. I will post some more photos. Hope some are still reading this. The family has added all kinds of little items and plants all around the house. It is very beautiful and colorful. I found this abalone shell and ship's chain resting on a log next to me as I had lunch. Photo ops are everywhere!...see photo below. Technical Note: Out of responsibility, I need to post this item on Pyro from Bostick-Sullivan who supplies this developer in many forms, as well as platinum/palladium kits. This is not my opinion but one coming from the source itself: "Is pyro toxic? Yes, pyro developer is toxic, as are all of the commonly used developers. Always wear gloves and take proper precautions. Dispose of used developer properly according to your local regulations. If you have limited experience handling chemicals it is best to buy premixed liquid solutions (like the B&S pyro kits) and avoid using powdered pyrogallic acid to mix developers from scratch." http://www.bostick-sullivan.com/main/pyro_page.htm Also, if you visit the Weston website listed above, there is an e-mail address and phone number. I am not an expert, just a "reporter" so any specific questions about technical issues should be directed to Kim or to Bostic-Sullivan regarding chemistry.
  33. The Weston workshops are very small and imtimate: 10 people. Parking is limited. Our group had 7.
  34. This is the first workshop I've taken for about 20 years. I was getting into a rut and this kind of activity can stimulate your creative juices. It is also good to share these experiences with other like minded people. Even posting these photos and chatting about it is stimulating. Think about taking a Weston workshop or one in your area, take a class, or visit a gallery. This photo is Kim Weston showing Edward Weston special edition prints in his gallery.
  35. I hope we all agree certain powder chemicals are toxic, especially, seleniun and care should be taken to avoid inhalation. Do we have to be chemists to read labels?
  36. Bob,

    Thank you for your comment.

    In the Bostick-Sullivan web site, under Technical Papers, under Misc., there is a collection of the formulas for the chemicals they sell. Under Pyro "A" it clearly states the following:

    "Weigh out the pyrogallic acid and add slowly and stir until dissolved. Use a mask, as this is toxic!"

    No other formula they use carries such an explicit warning. How much more direct can it be stated, and these people are chemical experts!

    It goes without saying that we should use extreme care with any chemicals we use. Ever try to clean a bathtub with household bleach with the door closed?...don't try! (^0^)
  37. Todd:
    Thanks for taking the time to write about your experiences at the Weston workshop and posting the pictures, too. I've really enjoyed reading and viewing what you've so kindly been providing us. Thanks!!
  38. Eric,

    Thank you for your kind comment.

    I think one of the reasons I wanted to write about this experience is because not everyone will be able to take one of these workshops. I brought my little digital with me, and photographed everthing in sight.

    I guess this is a "virtual" workshop, with some technical tid-bits thrown in...from Kim Weston. I have others I will share, so keep reading.

    If you can get out this way, such a workshop is a great experience, but there are great classes and workshops all over the world. His assistant, Randy Efros, said that you can get more out of a good 2 day workshop taught by an experienced photographer, than by reading books for two+ years. I believe that. The one I took was not expensive, but the 8x10 and Platinum workshops are a bit pricy (at least for me). One nice thing about the 8x10 workshop is that he provides the cameras, it is three days (one day for exposing and film developing), one day for contact printing, and one day for presentation methods). The May workshop is filled, but I'm going to try to catch the one in September (after my son's wedding!!!$$$).
  39. Eric, I appreciated your website and your photographs. This photo is one I did today at the San Juan Bautista (CA) cemetery...a really sad place to visit.
  40. am simply repeating a statement made at the workshop by Kim Weston, who's opinion I accept as reliable, who has a good knowledge of photographic chemistry, over 40 years of hands-on experience working with his father Cole Weston and with his uncle Brett Weston, and working as one of the printers of the Edward Weston special edition prints.
    I respect his opinion much, much more than I respect your's!

    Ah, I see, so if an actor portraits a medical doctor in a soap opera for 20 years he gets a de facto MD degree, uh? I dont think so bubba...
    Pyro is toxic but, so it is caffeine, chocolate and many other chemicals in the right amounts. It is certainly NOT "extremely poisonous" as you stated.
    Certainly correcting your false information might seem to you off topic and "vicious", but in fact it is very much on topic! anybody who in the future might want to follow in EW's steps or perhaps MAS, might be discouraged to do so because of your very ignorant statement, they might think that pyro is indeed to dangerous to use, which cannot be further from the truth.
    I really does not matter to me if you respect my opinion or not, I only hope that those who want to use pyro an amidol make an informed decision based on knowledge, not on second hand "he told me so" scare mongering information. You do not have to be a chemist to read a label, but it helps to be one to understand what it means.
    BTW, if pyro was so toxic, people like Steve Simmons, Michael A. Smith, Gordon Hutchings, Sandy King ( to name a few) would probably be dead by now since they mix pyro developers from stock.
    Seems to me it is another one who suffers from " I am right, you are wrong!" feelings, specially since my information is first hand from toxicology not from word of mouth "he must know what he is talking about because he used it for a long time"
  41. Pyro is a fine film developer. We just need to be careful when using it. Not a major problem.
  42. you boys...

    cool yer jets. i think my ol' buddy whore-hey is just jealous.

    good stuff toodles,

  43. i think my ol' buddy whore-hey is just jealous.
    There is that too Tribby....and what is this "whore-hey"??? I might be easy but I certainly am not cheap...:)
  44. yep,

    but i know different. don't i jorge? how do you think ol' geo got them stained fangernails? naughty naughty!!!!

    wink wink,


    p.s. i'm jealous too toodles. great thread, one of photonet's best.
  45. The Kim Weston site has been updated with photos from our workshop.

    Please look at: http://www.kimweston.com/workshops/cpadaywildcat.htm

    I'm the handsome "husky" guy with the white beard.

    The old camera we're looking at is an original Graflex (first model) rollfilm camera, and we're reseaching the film size...103/124???

    I also appreciate the new name of Toodles...I was using MrToady (on eBay), but I like Toodles much better.

    A good debate always keeps us alive and kicking!

    blessings, Toodles
  46. Tribby!!!!

    Welcome back to photo.net! It's been a long, long time...
  47. I don't want to rain on your parade by adding any negativity, but the last time I checked out the Weston website (and maybe it is different now), I imagined Ed rolling over in his grave as I saw prints for sale that were no more than snapshots of "Edward's desk" or other areas of his living space.

    I also thought that only the sons were allowed to print Edward's images, I saw some for sale that were printed by Kim, what's up with that?

    Overall I found the website to be rather distasteful.
  48. Mark, I think there is one photo of his desk that is for sale. Mine's available also! (^0^) It's not ment to be an art item...but I'm not sure. I'll have to check. Is that a problem? To my knowledge, only Cole Weston printed the special edition prints. Edward's grandson was give ONE of Edward's negatives (Charis nude in the window) which he uses to demonstrate printing in his workshops. He has only that one for sale as well, and prints it for that purpose to make an Edward Weston print available. I presume he received permission to do that from his father's (Cole)estate. Why not send Kim an e-mail and ask? I don't know the answer. No more special edition prints are being made, but many are available, to the best of my knowledge, from what was said, and Kim helped Cole with the printing of those prints for many years, according to what I heard at the workshop. That is partly how Kim learned to print and use the traditional chemicals and methods. That's my understanding. In what ways do you find the web site "distasteful." That's a rather strong word to use. Uninteresting, cluttered, commercial, etc., but distasteful is a rather specific term to use. Could you give examples of what you mean? I find it interesting and comprehensive with much personal info and photos from the workshops. It's a bit hard to navigate at times, but not "distasteful!" If you mean Kim's nudes, then you must know that he is a photographer of nudes...that's what he does and that's what both his father and grandfather did extensively. Kim and his family have possession of his grandfather's home and they want to preserve it and his heritage. I found Kim Weston and his wife to be most gracious and positive, with a strong interest in continuing Edward's legacy, and in teaching traditional LF photographic skills as well as alternative processes. I'm not trying to defend anyone here...just passing on my personal reaction to a very good experience. Attached is a photo of the window in which Charis posed nude behind the glass in Edward's photo, minus the bird feeder. See the example of the original on the web site.
  49. I find it distasteful because of the two, not one, image of the interior of the house for sale. A picture of Edward's desk and another showing the fireplace, doesn't this seem a bit tacky to anyone here?

    I believe the printing of Ed's negatives originally were handed to Brett, who having less available time for it, handed it down to Cole. I just don't see Ed agreeing with the continued passing of any of his negatives down to later generations so they can generate an income from the sales.

    It seems to me that these examples should suffice for my opinion, but in addition, the whole site seems to serve up Ed in a way that I wouldn't be surprised if they didn't have him on display like Lenin and were charging admission to see him.
  50. I believe the printing of Ed's negatives originally were handed to Brett, who having less available time for it, handed it down to Cole. I just don't see Ed agreeing with the continued passing of any of his negatives down to later generations so they can generate an income from the sales.
    Why not?...I have never read Weston's biography, but even so you make it sound as if he was a petty SOB whom would not want his progeny to profit from his efforts. I think he would actually be happy to see his family was enjoying the fruits of his efforts.
  51. I just visited the site and found nothing distasteful about it, so he is selling prints of where his grandfather worked, big deal! some people admire Weston enough that they might get some enjoyment from these prints. Me, I dont hold any phtographer in that much awe, but still I did not find anything wrong with it. SO he is trying to make a little bit of money from his name, what is wrong with that?

    Not only did I not find anything wrong with the site, but I ordered the May selection.
  52. This thread will vanish soon, but I have a comment.

    At the workshop, and from my reading, Edward wanted his photos to be enjoyed, and often gave them away. He wanted them to be reprinted and made available to the public.

    He is not a god and never even liked being called an artist...he was proud to be known as a photographer (that's from his Daybooks).

    Ansel Adams donated his negs to the Center For Photography in Arizona with the expressed intention that they be made available to qualified photography students to reprint them for learning purposes, using advanced techniques (see end of: Ansel Adams Photographer, video).

    I see nothing wrong with Kim photographing and selling some prints of Edward's desk or parts of his home. Many people would like to have such a print, and the funds do keep the home alive as a center for photography and workshops.

    At the workshop, none of us were restricted in photographing anything we wanted. Above I kiddingly said that you could buy one of my photos of his desk, but I should say that I would not do that without permission. In fact, I would rather just give it away.

    I see nothing tacky about it, but that's just my opinion, and I could be wrong.
  53. Thanks for the pics. I visited Weston's "little house on Wildcat Hill" in a group of 20 from the Large Format Convention just concluded in Monterey. It's fairly easy to find, but since privacy is requested, please contact Kim and Gina for arrangements. It was a $75 field trip, totally worth it. I would suggest paying the $150 and staying there as an alternative.

    Wonderful to be there and see the space largely as he left it. Very historic, and very worthwhile. Some of Edward's gorgeous originals were on the walls, across the room from that tiny little primitive darkroom that he used so well. The print cabinet adjacent to the darkroom still has his paper labels on the shelf edges. His original wire dodging tools were laid out under the little light bulb for contact printing.

    All this matters very much to me. He was more than a photographer, he was a great liver of life itself. Very inspiring he was, and will continue to be.

    I don't begrudge his grandson and his family any reasonable means they need to take to earn a living. I'd far prefer that they do so and remain able to preserve the legacy for those yet to come. They both were very open and direct in all evident respects.

    Many of us made the pilgrimage to Point Lobos, and made our own negatives of moving scenes there. It is awesome to walk the little "Weston Beach" where his ashes were scattered.

    Edward never drove a car himself, so he would walk to Point Lobos with his 8 X 10. After the house visit, the image of him walking with the camera and tripod comes unbidden to mind. This is one "latent image" that will stay with me, a long, long time.

    Best, Todd in Tarzana.
  54. "but even so you make it sound as if he was a petty SOB"

    this is such a wild jump from what I said, it defies explanation.

    Ed said he wanted Brett to print the images, correct? so you make this jump in logic that that means anyone down the line should be able to print from his negs as long as he is related? makes no sense.
    Having his descendants profit from his work is one thing, but hacking out prints from Ed's negs is another.--no wonder Brett burned most of his negatives.

    Jorge, if you don't have a problem with it that's fine. I personally think it's really tacky, I simply gave my opinion.

    Yes, Edward was a photographer, I think we all know that. If he didn't mind who printed his images, then why did he specify Brett and ask that this was noted on each print?

    "Ansel Adams donated his negs to the Center For Photography"

    this is a far cry from what Kim is doing, all prints made by students never make it out of the Center and are never sold. Ansel's negs (not all were donated btw) are there for learning, not to make a profit for a less talented relative. As far as the A.Adams special edition prints, I don't really know what the conditions are for Alan Ross or any future successors.

    I agree with you that many will want a print showing nothing more than Ed's furniture, funny and sad as it is. I would think that this is the type of thing Ed would roll his eyes at. I would imagine he would put this in the same category as his wish to not be called an "artist".
  55. Todd Foster...I appreciate your comments very much. Well stated.

    Mark...Debate is a healthy endeavour and I wish we had more time on this thread to keep it going, as well as our discussions on chemistry and technique.

    Kim was a paid carpenter for many years (his profession) until he was able to support the Weston home through his own photography and teaching. He is not leaching off the reputation of his grandfather.

    I see this whole issue more in an historical context than one of photographic technique or business dealings. Anything he can do to keep the Weston house and tradition alive is fine with me.

    I went to that particular workshop because it was focused on the history of the home and family, but I came away learning more about LF photography than I every dreamed possible.

    Eventually, they want to build a permanent personal home up the hill, and transform the original Weston house into a permanent "museum" and site for workshops.

    I think this is an honorable goal, and I will help support it by taking more workshops, as my finances provide.

    For me, it was a day to remember!
  56. Too bad this won't stay on a few more days. I'd like to get into some more of the simple contact printing methods used, Kim Weston's way of working, water bath for negs, friendly debates, and other items. Anyway, I'm going to end with my version of Edward's fireplace. I am not cropping the windows out for two reasons: first, to the left is where Charis stood for the photo of her in the window and second, under the window at the right was Edward's bed, until Parkinson's took its toll and his son Neil built a seperate bedroom. Edward lived in a one room house. It is now two rooms. Over the mandle are 4 originals, with the center left being Diego Rivera and the center right of Tina Modatti reciting poetry, both in Mexico. Blessings.
  57. Todd:
    "Too bad this won't stay on a few more days. I'd like to get into some more of the simple contact printing methods used, Kim Weston's way of working, water bath for negs, friendly debates, and other items."
    Start a new thread. I'd be interested in reading more! :)

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