To accompany a publication of his photographs, in 1932, Edward Weston wrote, "Man is the actual medium of expression---not the tool he elects to use as a means.  Results alone should be appraised; the way in which these are achieved is of importance only to the maker.  To the extent that the completed work realizes depth of understanding, uniqueness of viewpoint and vitality of presentation, will the spectator respond and participate in the original experience.  This premise, restricting too personal and therefore prejudiced interpretation, leads to revolution---the fusion of an inner and outer reality derived from the wholeness of life---sublimating things seen into things known."

From "A Contemporary Means to Creative Expression, by Edward Weston,"
The Art of Edward Weston (1932, p.7)


Introduction to Special Insights

In this gallery we want to illuminate Frederick Sommer’s willingness to take chances and make decisive moves when serving problems that came up during the 65-years he created photographic imagery, with and without the camera.

 Sommer believed that "we work for that part of our vision which is uncompleted."
Most of the insights are offered here come from Naomi Lyons, who spent 13-1/2 years assisting Frederick Sommer with his life and in the darkroom.  Ever curious, she asked more questions than could be answered.  Over the years, her persistent interest was rewarded by Sommer with fascinating clues and stories. 

Naomi offers the following inside view of Sommer's working process - drawing from her education while working with the artist and his negatives; 35mm to 11x14 inch, ranging from perfectly exposed to visually bullet-proof (over exposed and over developed), made from light, smoke, paint, found or constructed, etched, or painted with Crosein Scarlet.

The occasional 'guest' notes will be posted as well.