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The notion of a subject, even one belonging to the natural world like a pepper or a seashell, being "completely outside subject matter" is intriguing. It is a wild place that drew artists, photographers and film-makers long before Weston settled there. Order by newest oldest recommendations. Here, ultra-realism shades into surrealism. It is subtitled Something Out of Nothing, a title that says much about how his ever-restless imagination had found yet another way of seeing, and one that perhaps surprised even himself in its rendering of "the very substance and quintessence" of that extraordinary landscape.

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The question is, do Weston's still lives, in all their tonal beauty, their formal perfection, their technical skill, invest these commonplace objects with a heightened presence, or do they capture something innate?

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Edward Weston: the greatest American photographer of his generation?

For me, Weston's black and white images of Point Lobos — its angular rocks, tangled seaweed, bent cypress trees, sun-scorched driftwood — possess an almost unearthly beauty that is both austere and sensual, somehow not so "heightened" through technique as his more famous pictures. From until his death inWeston lived in a wooden cabin on Wildcat Hill in Carmel, California, near Point Lobos, a huge stretch of shoreline that he photographed again and again. It was Tina Modotti, another muse who became his lover, who pushed Weston towards an even more radical way of seeing the world though his camera. It is a wild place that drew artists, photographers and film-makers long before Weston settled there. A rocky outcrop on the edge of the continent, now called the Point Lobos state reserve, it is a beautifully elemental place that remains much as it was in Weston's time. Revealingly, Weston also wrote that something as ordinary and as extraordinary as a pepper "takes one beyond the world we know in the conscious mind". The original referred to Modotti's "native" Mexico.

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