I was so greatly moved by what Alfred Stieglitz said and did that, almost from the beginning of knowing him in 1927, I wrote down my conversations with him, and I attempted to learn everything I could about him — both about the evolution of his career, and his philosophy of life.
On the subject of the mutual influences of photography and painting, both conscious and unconscious, it is rare to find anyone who takes an intelligent and sane attitude such as Mr. Dearstyne does. He is a graduate of the Bauhaus in Dessau, a former student of Mies van der Rohe.
As museums go seven years is hardly noticeable, yet Rochester's George Eastman House, now well into its seventh year, is distinguished by the largest collection of photographic equipment, apparatus, photographs and films in the world.
A vocabulary for picture making in photography is still in a state of borrowing from other fields, and as the semanticist tells us this is nothing short of purgatory. While the situation may not be as fraught with demons and destruction as the semanticist would have us believe, the experience of those who have tried to use borrowed words, for instance, from art, prove how makeshift they are and how inaccurately they describe the psychological, esthetic and picture making realms of photography.
I feel that with the birth of photography seeds were sown for the decay of painting and drawing. But the complexity, variety and number of photographic images made each day cause me to wonder how photography’s birthright can ever be consummated.
The rumor is rather widespread by now that prints from Edward Weston’s negatives are still available at the startling low price of $25.00 each. The rumor is true. They are available. These are the prints made by his son, Brett, under his father’s supervision of well over eight hundred negatives.