Kim Weston Quotes (41 Quotes)

The gallery is generating work for the masses.

When I look at a painting there is so much left for my interpretation to work with. It's like they haven't finished the idea. The painter hasn't.

I felt no pressure that my grandfather was famous and my uncle was famous.

I didn't want to travel. I didn't want to leave my family. I heard all these stories from Dad about not having Edward around when he was young, and I didn't want that to happen.

Galleries, and they're all the same, and rightly so, they sell work.

I don't have an eye like my uncle. He could go out and shrink things down from this huge universe into something so precise, so perfect.

The great thing about this thing we call art is that it has no rules.

We all take from our artistic endeavors what we as individuals need, to make the process unique and fulfilling to ourselves.

I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.

It doesn't matter what you do, as long as you're fulfilling that inner need, and for me the need is more the process than the finished product. My photographs are stories of the process.

I'm not going to rely on my photography to make money. It never will. I mean it will but I'm not going to make the public determine what I photograph.

I tried painting for a short time and realized that I was not a child prodigy at painting.

Any nude is a something you setup in front of the camera.

I don't know, the older I get, the more complicated I think I get, which is a hindrance.

In front of the camera I look and I see visually what I've created.

What I had to prove was that I had a dedication and a desire and a passion to do the work and everything else would fall in place because I have a vision that I want to portray and it did and I do it. I don't sell anything.

I just love photographing. I don't do it for anyone else.

I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.

Well, now I'm an old photographer and I still don't sell.

If you're not going to tell something if you're not going to expose something it's real easy to go in and photograph from behind the camera and not expose any of your weaknesses.

Uncle Brett had a definite vision that he was after, I don't think having a famous father affected him much.

If no one wants to jump into a Kim Weston and drive it down the street. That's fine with me I don't care. I know my work is good and I know it's serious work.

The darkroom is just the means to an end.

Being a shy person, I always felt strange outside with my camera.

I think all photographers fit their vision to their personality.

Growing up, I didn't give my grandfather's photography a second thought. I wasn't involved in his work, except that I helped my dad print his negatives.

I think the digital camera would record that information too fast for me.

No matter how fast I could do it with the digital camera I don't think I would get the same thing out of it. The passion I have for formulating an idea stands alone. It is the important essence of what I do.

A lot of my work comes from my life experiences.

My surprises come usually once I start rolling and photographing.

The studio work helps me in two ways I don't have to go out with my camera and have people look at me, and I can be close to my family.

I don't need the money I generate from photography to support myself.

You work on an idea, your first interpretation is very raw and you work it and you work it and it gets polished and polished. It gets to a certain level and then it comes down off that peak.

Where in photography, maybe it's just because I've seen so much photography, I don't see a photograph anywhere I would elaborate on.

That's not to say that some day I won't go outside again, but I'm having a great time working on this process.

I don't think at that time I realized how important it was and how important it was for me to be here and carry on that legacy in our family of being a photographer.

I was always confident in my art and in myself as an artist.

My son does a little photography, but he's not involved the way I was.

To me, that is the essence of me as a photographer. It is those ideas, working with them, formulating them and eventually putting them down on paper, photographing them and then going on to the next step.

As an artist you have to have a certain amount of arrogance.

I was a shy child, and I loved going into the darkroom and helping my dad. I loved the darkness, the quiet. I'd sit in there for hours.