by Edward Weston.

Edward Weston (1886¨C1958) was a photographer with unique artistic achievements, legendary life colours, and far-reaching influences on future lives, with the classic representation of the series of works such as "Pepper", "Pepper", "Pepper", "Nude", "Trees" and "Stones".

Born in 1886 in a less wealthy family near Chicago, the first contact photography was in August 1902 during a vacation in the Midwestern United States, Edward received a Kodak Eye 2 camera from his father, and the first contact with photography made him happy and crazy at the age of 16. After returning to Chicago, the camera, when he was a teenager, walked 10 miles a day to school. In order to save every penny car fee, bought a 5×7 inch second-hand camera with a pedestal and a filter in the city center windows. At the age of 16, Weston finally fulfilled his desire, spending $11 and purchasing an old camera.

As a teenager, Edward excelled in track and art classes at school, but he dropped out of high school before he finished. He first got a job as a shop boy, and then after several job changes, he became a door-to-door portrait photographer, photographing "everything, from newborns in cradles to dead bodies in coffins". In the fall of 1907, Edward became aware of the need for professional photographic training, and he enrolled in a nine-month course at the Illinois Institute of Photography, his only formal photographic education, and completed it within six months.

His debut novel was a snowy scene taken in Washington Park in Chicago. When the photo was first printed, he was so happy that he was trembling with excitement. After a few days, my mood calmed down, only to realize that the photos were not perfect enough: the trees were black, the snow was too white and lacked layers. In order to pursue the ideal perfection, Weston began a forty-six-year exploration in the field of photography. It was not until he suffered from Parkinson's Disease in 1948 that he had to put down his camera. Weston had little specialized education. Between the ages of twenties and fifties, they mainly rely on the income from opening photo studios and shooting commercial portraits to make a living. In 1922, Weston visited new york once and met Stiglitz and Strand, the American photographers at that time. Weston wrote in his diary: "Stiglitz aimed at the focus of my life through his two-hour meeting with me." Since then, Weston's film art has made great progress, regardless of characters, scenery and interviews, he can shoot his own style and characteristics, and gradually gained the attention and praise of public opinion. In 1930, he held his first solo film festival in New York.

From 1927 to 1936, it was the peak of Edward¡¯s artistic achievements, as he first pleased himself in creation, and continued to strive. Though his life was not rich and his personal life had a lot of treacherous behavior, his family, friends and past lovers still gave him great tolerance and understanding. His artistic path was further broadened by the inspiration of music, sculpture, literature, and painting. His classic representations of the series of works, such as ¡°Pepper¡±, ¡°Pepper¡±, ¡°White Vine¡±, ¡°Nude¡±, ¡°Tree¡±, ¡°Stone¡±, were born in the decade.

In 1932, he and like-minded film friends such as Ansel Adams and W. Van Dijk formed the famous "f/64 group" in the history of American photography. (The term f/64 referred to the smallest aperture setting on a large format camera, which secured maximum depth of field, rendering a photograph evenly sharp from foreground to background.) At the age of fifty-one, Weston was an important year in his photographic career. This year. He received the famous Gookingham Prize in the United States. From then on, Weston said goodbye to the portrait photography in the photo studio, which he had been bored of for a long time, and made up his mind to devote all his time and energy to the world of free creation. Weston's character. I like nature and hate the city; Like quietness, hate noise. He said, "I was not born from the city. In fact, Weston pulled the photography creation at that time out of the dead end of blind imitation and opened up a new world for the continued development of photography. Unlike some famous photographers, Weston's creation has no fixed scope. He photographed almost everything: portraits, factories, lakes and mountains, piles on sand dunes, rocks and shells, dried old trees, even peppers and cabbages. He said, "Anything, for whatever reason, as long as it excites me, I shoot it. I don't look for unusual subjects specifically, but I want to turn ordinary subjects into unusual works. Weston's photographs of peppers, which at first glance look like peppers, look like human bodies when you look closely; His photographs of dead trees, which at first glance look like bare stumps, look like flames.

This ability to "turn stone into gold" comes from Weston's love for nature, as well as his unique vision and aesthetic accomplishment. Weston's creative attitude when photographing these small things is very serious. A tiny pepper, he can shoot for a week. Even if it is a less important background, it will never be taken lightly. Instead, it will be repeatedly tested with different materials such as Boqing, foreign iron sheet, cardboard, wool, and Swan City. Those old fir trees on the Lores Peninsula on the west coast of the United States, which have experienced many vicissitudes, are also the subjects Weston often photographs. Weston often takes only some of these fir trees, and is very detailed and particular in the use of light and the choice of angle, so that some fir trees look like a sculpture, while others look like a flame soaring into the air. The reason why Weston's works can give people an otherworldly feeling is related to his spiritual realm. All his life, Weston didn't admire fame and fortune, and he tried his best to simplify his life in order to devote his time and energy to photography.