In my formative years, the photo magazines treated Stieglitz and Steichen like the photoheros to emulate. Then came a period when Gene Smith was revered. Eventually St. Ansel became (and still is) the Gold Standard.
For 20 years I assumed that Edward Weston's place in photography was the Weston Meter, (it turns out there was NO connection).
Then in the 70s when a few photography galleries began to appear, essentially lead by Lee Witkin in NYC, We began to read about and hear of Edward Weston. I bought The Daybooks, and a print of Pepper #30. The Daybooks have been out of print for many years, which is a real pity -- every photographer should read them, as both an inspiration and a warning.
Eventually books about Weston and his life and loves began being written, and seemed to be coming out every month. Anyone who had known or worked with him, particularly Tina Modot, were touted as Great Photographers.
There are "lots" of books of his pictures, but except for the Ben Maddow tome, not much is written. A wonderful picture is painted by his second wife, Charis Wilson, but by then he was failing as an innovator.
Now, it almost seems rare to find him mentioned except as a historical figure.
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