Cole Weston

American. Born: in Los Angeles, California, 30 January 1919; fourth son of the photographer Edward Weston. Education: Graduated from University High School, Los Angeles, 1937; studied theatre arts at the Cornish School, Seattle, 1937-40; studied photography with his father. Military Service: Served as a photographer, in the United States Navy, in Norman, Oklahoma, 1943-45. Family: Married Dorothy Hermann in 1940 (divorced); married Helen Prosser in 1951 (divorced); children: Ivor, Kim, Cara and Rhys; married Margaret Woodward in 1963; son: Matthew. Carer: Worked for Lockheed Aircraft Corporation, 1940-43; photographer with Life magazine, Los Angeles, 1945-46; photographic studio assistant to his father Edward Weston, Carmel, California, 1946-58 (executor of his father's estate, including printing from original negatives, from 1958). Independent photographer, concentrating on color landscape photography, Carmel, California, since 1958. Independent Progressive Party candidate for United States Congress, 1948; started Weston Trout Farm, Garrapata Canyon, Monterey County, 1949; Stage Director, Forest Theatre, Carmel, 1951; started Old Mill Stream Trout Farm, at Knott's Berry Farm, Buena Park, California, 1959; Cultural Director, Sunset Center, Carmel, 1966-69. Agents: Afterimage Gallery, The Quadrangle no. 250, 2800 Routh Street, Dallas, Texas 75201; Halsted Gallery, 560 North Woodward Avenue, Birmingham, Michigan 48011; and the Weston Gallery, P.O. Box 655, Carmel, California 93921. Address: Box 22155, Carmel, California 93922, U.S.A.

The work of Cole Weston has long been overshadowed by the more famous photos of his father, Edward Weston, and his older brother, Brett Weston. Many observers feel that this is only a temporary situation, and that Cole Weston's beautiful sensuous color work will find a place of its own in the world's great photography.

Part of Cole Weston's obscurity is due to his quieter nature, which pales beside that of the more flamboyant Edward and Brett. Part is due to a certain self-abnegation. But most comes from the fact that Cole's work is so closely derived from that of his father that it seems to be just a logical continuation of the father's style.

Until World War II Cole worked by his father's side and under his father's close direction. During the conflict Cole served as a Navy photographer, and afterwards went out on his own as a photojournalist. But the ailing and elderly Edward Weston called Cole back to his side. Edward could no longer print his great black-and-white work himself, so he instructed Cole in the precise techniques for printing his negatives. From that time until today, Cole has provided prints from the Edward Weston negatives. He has become so well known for this work that many are surprised to discover that Cole is a photographer in his own right.

Late in his career, Edward Weston began photographing a little in color. Cole was with him, and took to the new materials immediately. Cole Weston, one of the master black-and-white printers of our day, has done the bulk of all his own photography in color.

Cole Weston's color photographs were amazingly beautiful yet restrained right from the beginning. In those early days of color, most photographers were anxious to make their prints ``colorful:'' they drowned every scene in a sea of blazing oranges, vibrant yellows and searing reds. Cole was the first to realize that color could be subtle, delicate, and gentle. He photographed much of what his father had photographed, including Point Lobos and the Big Sur country, but he captured it in color with soft browns, pale blues, and quiet greens.

The bulk of Cole Weston's color has been done with large format cameras, and is very much in the f/64 school tradition with its love of the perfectly sharp ground glass image. Cole has continued this emphasis with precise and exquisite dye transfer printing.

At a time when many young photographers are turning to large format color photography, Cole Weston is beginning to be seen as the real pioneer of color photography as an art form.

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Posted on Wed, Apr. 23, 2003

Monterrey Herald

Noted photographer Cole Weston dies

He also directed theater in Carmel

By KEVIN HOWE

khowe@montereyherald.com

Cole Weston, who was part of a dynasty of internationally known California photographers, died Sunday at Community Hospital of the Monterey Peninsula. He was 84.

The fourth son of legendary photographer Edward Weston, Cole Weston was born Jan. 30, 1919, in Los Angeles and received his first camera, a 4-by-5 Autograflex, from his brother Brett in 1935.

Weston graduated with a degree in theater arts from the Cornish School in Seattle in 1937 and served in the Navy during World War II as a photographer.

After his discharge in 1945, Weston worked for Life magazine in Los Angeles.

He moved to Carmel in 1946 at his father's request to act as his assistant, started the Weston Trout Farm in Big Sur's Garrapata Canyon in 1948, and that same year ran for Congress on Henry Wallace's Independent Progressive Party ticket.

Also around 1948, Eastman Kodak started sending color film to Edward Weston, who didn't use it because of failing health. Instead, Cole Weston began experimenting with color and eventually became one of the world's masters at color photography.

Never one-dimensional, Weston in 1951 became president of Carmel's Forest Theater Guild and directed such plays and musicals as "Winterset," "Summer and Smoke," "View from the Bridge," "Carnival," "Camelot," and John Steinbeck's "Of Mice and Men" and "The Grapes of Wrath."

He was also the first director of the Carmel Cultural Center and a founder of the Center for Photographic Arts at Sunset Center.

Weston had a natural talent for the theater, said former Herald drama critic Steve Hauk, who wrote the script for the recent television documentary "The Roots of California Photography: the Monterey Legacy." The show features the Westons and photographers Ansel Adams, Henry Gilpin and John Sexton, among others, and is now showing on PBS channels nationwide.

"There weren't many left like him who had that connection to the past," Hauk said. "He was very articulate and a hell of a theater director."

Hamisch Tyler, who acted and directed with Forest Theater and served with Weston on its board for many years, recalled one incident in which Weston, impassioned by an argument over selection of a play for the next production, "jumped up on the table during a board meeting and continued to recite the beauties of a particular play in contrast to another. It was an incredible performance in itself."

Lighting directors found themselves working with "a master" when staging productions, Tyler said. "He wanted light, shadows, everything. Watching him direct in his heyday was fabulous."

Weston was also adamant that people involved in community theater should work without pay, Tyler said. "We'd have epic battles over payment of personnel."

Weston "had the most charming effect on women," he added, "and was an incredible tango dancer. He was all about guts and balls."

While there won't be a headstone to mark his grave, Tyler said, there is a bust of Weston at the Forest Theater where people can leave mementos if they wish.

Louis Roberts, an architect and sculptor who created that bust, volunteered his work after meeting Weston at a Forest Theater board meeting.

"I didn't know a lot about the theater, but listening and looking, I was totally captivated by him," he said. "I thought, 'Wow, what a spirit. I'd love to do a bust of this guy.'"

That same evening, Roberts said, the board proposed having such a sculpture done to honor Weston's 50 years of uncompensated work with the theater, and he raised his hand.

In 1957, Weston began shooting his first 8-by-10 color photographs of the Monterey coastline and carried on his own portrait business while assisting his ailing father, who died in 1958.

Two decades of correspondence between father and son were published in the book "Laughing Eyes," which also contains 60 rare black-and-white photographs from the family archives.

Cole Weston began lecturing and showing his father's works in 1975. Four years later he completed a new studio and darkroom at Garrapata Creek, where he conducted live-in workshops.

His coastal landscapes, notably "Palo Corona Ranch" and "Surf and Headlands," and his nude figure studies have inspired generations of photographers.

Photographer R.H. Cravens, in the afterword to "Cole Weston: Fifty Years," may have described Weston best, Roberts said.

"Cole is... a gregarious man who genuinely loves the companionship of his fellow humans, strangers as well as intimates," Cravens wrote. "This is a rare quality among artists, particularly among photographers.... It is his humanity -- as much as his choice of color -- that infuses his emerging mastery of the Weston vision with a new dimension, a relish for life."

Weston was an avid sailor and once recalled sailing "away to the South Seas with five screaming kids and a wife."

"The four important things in my life have been photography first, theater, sailing and then women and wives," he had said.

Weston was married and divorced four times. He continued to publish and teach until his death, working from the Weston Gallery in Carmel.

He is survived by four sons, Ivor Weston of Redding, Kim and Matthew Weston of Carmel and Richard Weston of Illinois; two daughters, Cara Weston of Carmel and Erin Lamson of Texas; and nine grandchildren.

A fifth son, Rhys Weston, died in 1971.

Private family services will be held. A public memorial service will take place at a later date. Paul Mortuary is in charge of arrangements.

from the website: http://www.montereyherald.com/mld/montereyherald/5696635.htm