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Cara Weston
Cara by Tony Karnezis
Cara Weston
Cara Weston

Cara Weston

Country: United States

Cara Weston is a fine art photographer living and working in the Big Sur area of California. She is the daughter of renowned photographer Cole Weston and actress Helen Prosser-Weston, niece of Brett Weston and granddaughter of Edward Weston - recognized as the leading visionary in modern photography. Having worked with her father Cole and Uncle Brett, as well as Rod Dresser, photographer and assistant to Ansel Adams, Cara has followed the path of her heritage. The body of work she has created over the past two decades respects the craftsmanship tradition of the medium and reflects a unique voice within her family. It now stands alongside her famous descendants as a prime example of fine art image making in the twenty-first century.

In addition to her work as a photographer, Cara is the former director of the internationally renowned Weston Gallery in Carmel. As director she curated shows that included exhibitions for luminaries such as Yousuf Karsh, Ansel Adams, Michael Kenna and of course Edward, Cole and Brett Weston. In addition to the gallery exhibitions she has produced, Cara has also curated several art shows in Los Angeles and New York that have featured the best works of today’s art photographers.

Cara is also the proud mother of two wonderful daughters and has just published her first book of photographs, “Head in the Clouds”; a compilation of her best works from various portfolios and one that studies the strength and ephemeral beauty existing above our horizon. Her work can be viewed on her website www.carawestonphotography.com and is in several international exhibits and collections.

Galleries

www.westongallery.com

lumieregallery.net

www.galeriehoffman.com

Websites

www.carawestonphotography.com

www.edward-weston.com

 

Inspiring Portfolios

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
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Carole Mills Noronha
© Carole Mills Noronha
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Stanley Kubrick
Stanley Kubrick
United States
1928 | † 1999
Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director, producer, screenwriter, and photographer. He is frequently cited as one of the greatest filmmakers in cinematic history. His films, which are mostly adaptations of novels or short stories, cover a wide range of genres and are noted for their realism, dark humor, unique cinematography, extensive set designs, and evocative use of music. Kubrick was raised in the Bronx, New York City, and attended William Howard Taft High School from 1941 to 1945. He received average grades, but displayed a keen interest in literature, photography, and film from a young age, and taught himself all aspects of film production and directing after graduating from high school. After working as a photographer for Look magazine in the late 1940s and early 1950s, he began making short films on a shoestring budget, and made his first major Hollywood film, The Killing, for United Artists in 1956. This was followed by two collaborations with Kirk Douglas: the war picture Paths of Glory (1957) and the historical epic Spartacus (1960). Creative differences arising from his work with Douglas and the film studios, a dislike of the Hollywood industry, and a growing concern about crime in America prompted Kubrick to move to the United Kingdom in 1961, where he spent most of his remaining life and career. His home at Childwickbury Manor in Hertfordshire, which he shared with his wife Christiane, became his workplace, where he did his writing, research, editing, and management of production details. This allowed him to have almost complete artistic control over his films, but with the rare advantage of having financial support from major Hollywood studios. His first productions in Britain were two films with Peter Sellers, Lolita (1962) and Dr. Strangelove (1964). A demanding perfectionist, Kubrick assumed control over most aspects of the filmmaking process, from direction and writing to editing, and took painstaking care with researching his films and staging scenes, working in close coordination with his actors and other collaborators. He often asked for several dozen retakes of the same shot in a movie, which resulted in many conflicts with his casts. Despite the resulting notoriety among actors, many of Kubrick's films broke new ground in cinematography. The scientific realism and innovative special effects of 2001: A Space Odyssey (1968) were without precedent in the history of cinema, and the film earned him his only personal Oscar, for Best Visual Effects. Steven Spielberg has referred to the film as his generation's "big bang"; it is regarded as one of the greatest films ever made. For the 18th-century period film Barry Lyndon (1975), Kubrick obtained lenses developed by Zeiss for NASA, to film scenes under natural candlelight. With The Shining (1980), he became one of the first directors to make use of a Steadicam for stabilized and fluid tracking shots. While many of Kubrick's films were controversial and initially received mixed reviews upon release—particularly A Clockwork Orange (1971), which Kubrick pulled from circulation in the UK following a mass media frenzy—most were nominated for Oscars, Golden Globes, or BAFTA Awards, and underwent critical reevaluations. His last film, Eyes Wide Shut, was completed shortly before his death in 1999 at the age of 70. Stanley Kubrick, Photographer Kubrick attended William Howard Taft High School from 1941 to 1945. Though he joined the school's photography club, which permitted him to photograph the school's events in their magazine, he was a mediocre student, with a 67/D+ grade average. Introverted and shy, Kubrick had a low attendance record and often skipped school to watch double-feature films. He graduated in 1945 but his poor grades, combined with the demand for college admissions from soldiers returning from the Second World War, eliminated any hope of higher education. Later in life, Kubrick spoke disdainfully of his education and of American schooling as a whole, maintaining that schools were ineffective in stimulating critical thinking and student interest. His father was disappointed in his son's failure to achieve the excellence in school of which he knew Stanley was fully capable. Jack also encouraged Stanley to read from the family library at home, while at the same time permitting Stanley to take up photography as a serious hobby. While in high school, Kubrick was chosen as an official school photographer. In the mid-1940s, since he was unable to gain admission to day session classes at colleges, he briefly attended evening classes at the City College of New York. Eventually, he sold a photographic series to Look magazine, which was printed on June 26, 1945. Kubrick supplemented his income by playing chess "for quarters" in Washington Square Park and various Manhattan chess clubs. In 1946, he became an apprentice photographer for Look and later a full-time staff photographer. G. Warren Schloat, Jr., another new photographer for the magazine at the time, recalled that he thought Kubrick lacked the personality to make it as a director in Hollywood, remarking, "Stanley was a quiet fellow. He didn't say much. He was thin, skinny, and kind of poor—like we all were." Kubrick quickly became known for his story-telling in photographs. His first, published on April 16, 1946, was entitled A Short Story from a Movie Balcony and staged a fracas between a man and a woman, during which the man is slapped in the face, caught genuinely by surprise. In another assignment, 18 pictures were taken of various people waiting in a dental office. It has been said retrospectively that this project demonstrated an early interest of Kubrick in capturing individuals and their feelings in mundane environments. In 1948, he was sent to Portugal to document a travel piece and covered the Ringling Bros. and Barnum & Bailey Circus in Sarasota, Florida. Kubrick, a boxing enthusiast, eventually began photographing boxing matches for the magazine. His earliest, Prizefighter, was published on January 18, 1949, and captured a boxing match and the events leading up to it, featuring Walter Cartier. On April 2, 1949, he published the photo essay Chicago-City of Extremes in Look, which displayed his talent early on for creating atmosphere with imagery. The following year, in July 1950, the magazine published his photo essay, Working Debutante – Betsy von Furstenberg, which featured a Pablo Picasso portrait of Angel F. de Soto in the background. Kubrick was also assigned to photograph numerous jazz musicians, from Frank Sinatra and Erroll Garner to George Lewis, Eddie Condon, Phil Napoleon, Papa Celestin, Alphonse Picou, Muggsy Spanier, Sharkey Bonano, and others. Kubrick married his high-school sweetheart Toba Metz on May 28, 1948. They lived together in a small apartment at 36 West 16th Street, off Sixth Avenue just north of Greenwich Village. During this time, Kubrick began frequenting film screenings at the Museum of Modern Art and New York City cinemas. He was inspired by the complex, fluid camerawork of director Max Ophüls, whose films influenced Kubrick's visual style, and by the director Elia Kazan, whom he described as America's "best director" at that time, with his ability of "performing miracles" with his actors. Friends began to notice Kubrick had become obsessed with the art of filmmaking—one friend, David Vaughan, observed that Kubrick would scrutinize the film at the cinema when it went silent, and would go back to reading his paper when people started talking. He spent many hours reading books on film theory and writing notes. He was particularly inspired by Sergei Eisenstein and Arthur Rothstein, the photographic technical director of Look magazine.Source: Wikipedia While LOOK Magazine includes work by many noteworthy photographers, Stanley Kubrick’s photos have been the subject of repeated inquiries because of his later career as a filmmaker. This guide is intended to convey the scope of Kubrick's work for the magazine, as well as the information needed to locate the photographs. Stanley Kubrick worked for LOOK Magazine from 1946 until 1950. After selling a number of photographs to the magazine as a freelancer, he was hired as an apprentice photographer in April of 1946. He became a staff photographer in 1947. Kubrick’s work for LOOK consists of thousands of frames of film. Most of these images are not digitized. The LOOK Magazine Photograph Collection came to the Prints and Photographs Division (P&P) of the Library of Congress in 1971 when the magazine ceased publication. During the earlier years of the magazine's publication, magazine staff gave some photographic assignments (Jobs), mostly those focusing on New York City subjects, to the Museum of the City of New York (MCNY). Because of this, Kubrick’s work for LOOK Magazine is divided between the two institutions.Source: Library of Congress Must Read Article Through a Different Lens: Stanley Kubrick Photographs
Shuwei Liu
Shuwei Liu
China
1985
Shuwei Liu (b.1985) was born in Tangshan and currently lives in Shanghai, China. He received his Bachelor of Engineering in Guangdong University of Technology in 2009, then he decided to do what he really love such as photography, design and writing. He's a finalist of LensCulture Portrait Awards 2016. His works got exhibited internationally include Power Station of Art, the State Hermitage Museum, Artefiera Bologna, JIMEI × ARLES Photo Festival Three Shadows Photography Art Centre, Vu Photo. He was an residency artist in Vermont Studio Center, Red Gate residency and granted by them, and was awarded Fine Art "First Place" by PDN, and he was a finalist of LensCulture Portrait Awards, Three Shadows Photography Awards, Barcelona International Photography Awards, British Journal of Photography, described as "Ones to Watch" talents and Photovogue Festival.All about Childhood Revisited"Childhood is a human water, a water which comes out of the shadows. This childhood in the mists and glimmers, this life in the slowness of limbo gives us a certain layer of birth... " Gaston Bachelard "Childhood is not a thing which dies within us and dries up as soon as it has completed its cycle. It is not a memory. It is the most living of treasures, and it continues to enrich us without our knowing it." Franz Hellens All about Visible Darkness "Visible darkness" is a part of my "Blue" trilogy. When I discovered 4 moon-like crescents at the base of my corneas, I thought I was going to lose sight. The anxiety reminded me of Derek Jarman's "Blue is darkness made visible." , blue was the only thing he could see before he went blind. Meanwhile I was hiding in my own corner, chasing the color blue, turned out to be adjusting the distance between the world and me. Blue itself is just like distance, not reachable.
Mieke Dalle
Mieke Dalle
Belgium
1970
I attended art school and St-Lucas high school, after which I did commercial work as a graphic designer and photographer. I am from the generation working with analog camera, it is very exciting to now also be able to experience digital progress such as artificial intelligence and to take the first steps to incorporate this into my work.
John Divola
John Divola
United States
1949
John Divola is an American contemporary visual artist born in 1949 in Los Angeles, CA. He received a B.A. from California State University, Northridge in 1971 and later received an M.F.A. from the University of California, Los Angeles in 1974. He has held residencies at many institutions including the California Institute of the Arts. He has held the position of Professor in the art department at the University of California Riverside since 1988. His work has been featured in many solo exhibitions across the United States, Europe, Japan, and Australia. He participated in 1978, 1989, and 2000 Museum of Modern Art group exhibitions and in the 1981 Whitney Biennial. Divola received awards as Individual Artist Fellowship from the National Endowment for the Arts in 1973, 1976, 1979, 1990 and a Guggenheim Fellowship in 1986. He published four books: Continuity, Isolated Houses, Dogs Chasing My Car In The Desert, and Three Acts. In Zuma project, he has described being interested in the relationship between real artworks and representations of them, and the issues of the natural and the artificial. Divola said "I attempted ... to develop a practice in which there could be no distinction between the document and the original." In his series of photographs from 1977, he used deserted houses on Zuma Beach and covered their walls in graffiti. He photographed the ocean from the house's interior through windows and cracks. Divola states: "On initially arriving I would move through the house looking for areas or situations to photograph. If nothing seemed to interest me I would move things around or do some spray painting. The painting was done in much the same way that one might doodle on a piece of paper. At that point, I would return to the camera and explore whatever new potentials existed." These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola's works trace a schematic desire for escape, movement, and transcendence. "My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. These photographs are not so much about this process as they are remnants from it. My participation was not so much one of intellectual consideration as one of visceral involvement." Dogs Chasing My Car In The Desert are images of dogs in the desert captured in the midst of running wildly after the car. Emphasizing the grain of the image, these black and white photographs capture a haunting moment in which there is a duality between a sense of absence and presence. The behavior of the dogs suggests a lack of previous stimuli, and loneliness at the same time as an all-consuming reaction to the now, a presence. "It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise". In the Dark Star series, dark circles have been painted on the walls of an abandoned house. Creation and destruction are held in a delicate equilibrium, the white rooms of the house, are tattered and derelict. The domestic ruins suggest social collapse, secret renditions of something darkly sinister illuminating our conflicted recent history, updating Zuma and Vandalism for our age of foreclosure. In the As Far As I Can Get project, he made photographs by pushing the self-timer button on his camera. An exposure is made in 10 seconds. John Divola currently lives and works in Riverside, CA. Divola works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific.Source: Wikipedia
Michael Joseph
Michael Joseph
United States
1977
Michael Joseph is a street portrait and documentary photographer. Raised just outside of New York City, his inspirations are drawn from interactions with strangers on city streets and aims to afford his audience the same experience through his photographs. His portraits are made on the street, unplanned and up close to allow the viewer to explore the immediate and unseen. Michael's project “Lost and Found” has been featured on CNN.com, AllAboutPhoto.com and published in magazines internationally. He has been exhibited nationally, notably at Daniel Cooney Fine Art (New York, NY), the Aperture Gallery (New York, NY), Project Basho Gallery (Philadelphia, PA) as well as the Rayko Gallery (San Francisco, CA). He has lectured for Amy Arbus at the International Center of Photography (New York, NY) in portraiture classes at the New England School of Photography (Boston, MA) and taught at the Light Factory (Charlotte, NC). His portraits are held in the permanent collection at the Fort Wayne Museum of Art in Indiana and private collections. He is a 2016 Photolucida Top 50 winner, LensCulture Portrait Award Finalist and a recipient of the fellowship in photography from the Massachusetts Cultural Council. Statement about the "Lost and Found" "We have secrets about traveling you wouldn't believe and we share with no one but ourselves."Huck Lost and Found is a portrait series that examines the individual souls of lost youth who abandon home to travel around the country by hitchhiking and freight train hopping. Within their personal journey driven by wanderlust, escapism or a search for transient jobs, they find a new family in their traveling friends. They are photographed on public streets using natural light, in the space in which they are found. Like graffiti on the walls of the city streets they inhabit and the trains they ride, their bodies and faces become the visual storybook of their lives. Their clothing is often a mismatch of found items. Jackets, pants and vests are self-made like a patchwork quilt, using fabric pieces of a fellow traveler's clothing embellished by metal bottle caps, buttons, safety pins, lighter parts, syringe caps, and patches. The high of freedom however, does not come without consequence. Their lifestyle is physically risky and rampant with substance abuse. Each traveler's story is different, but they are bound by a sense of community. Often unseen and mistaken by their appearances, they are some of the kindest people one might meet. Their souls are open and their gift is time. As one states, “They will give you their time because time is all they have.” And in some cases, in the family they have lost, they have found each other. Find out more about Michael Joseph in this article
Nando Morales
Nando Morales
Spain
Amateur photographer addict and seduced by nature, trying to one day be able to devote myself 100% and not have it as a hobby. Started in the world of photography, when I was very young and my sister gave me my first film camera. From that moment I do not remember having been without a camera in my hands until today. I feel good and happy especially doing landscapes and wildlife photography and enjoying the environment in which I am. Always that I can, travel around the world and meeting good friends. In each photo I try to convey the experience I feel when I'm behind the camera.
João Coelho
João Coelho
Angola/Portugal
1964
I was born in Angola, but the upheavals that preceded and followed the country's independence process forced my family to emigrate to Portugal, where I lived until about 15 years ago. My passion for photography was born in his teenage years, with a focus on landscapes and portraits. When I returned to Angola to work on social development projects, I had to live with people and scenes in very precarious conditions on a daily basis, which radically changed the way I was and how he saw the world. Gradually, I developed a strong desire to visually tell the stories of these people's survival, to give them a voice they had lost in society, and to try to arouse emotions and an awareness that something must be done to change the world for the better. Documentary photography came naturally to me as a tool to study the human condition, especially the enormous resilience of people in the face of the fragility of their lives and the greatest adversities they can face. My photography always aims to denounce the injustices that asymmetries and inequalities cause in societies. Currently, my work focuses more on projects, as they allow him to build more structured and solid narratives that can have a more transformative power in society. Artist Statement: I have always been fascinated by the human condition and its study has been a major driving force in my work. More than an aesthetic purpose, I want my photography to evoke feelings, emotions, and convey messages by telling stories that depict suffering or joy, despair or mutual aid, strength or disappointment, or simply resilience in the face of adversity and uncertainty about the future. AAP Competitions: All About Photo Awards 2025
Johnny Kerr
Johnny Kerr
United States
1982
Johnny Kerr is a fine art photographer based in the West Valley of Arizona’s Phoenix Metropolitan Area. Johnny is self-taught in the craft of photography but entered into his study of the medium with many years of art education and design experience. In 2003 he earned a Bachelor’s degree in Media Arts from the Art Institute of Phoenix and went on to make his living as a graphic designer. Johnny began learning and experimenting with photography in 2011 and in 2013 decided to shift his focus, pursuing photography as his primary medium of expression. He cites his graphic design experience, along with his appreciation for minimalist design, as having the largest influence on his vision as a fine art photographer. After deciding to change careers Johnny went back to school, earning his Master of Arts in Education degree in 2010. Johnny currently makes his living as a photography teacher in the greater Phoenix area, where he lives with his wife and daughter. STATEMENT Growing up in Arizona has certainly given me an appreciation for the unique beauty of the desert. However, I have never found my desert surroundings to be particularly inspiring in my artistic endeavors. Lacking the inspiration to capture my natural surroundings in a representational manner, I have found freedom and gratification in abstraction. I found architecture to be an inspiring subject matter for its graphic qualities, but my photographs are not really about the buildings. Each photograph is a study of the rudimentary elements that catch my attention: shape, space, volume, line, rhythm, etc. Drawing heavily from my graphic design experience, each architecture photograph represents an exercise in isolating those basic elements and trying to present them in a harmonious design. Often I have incorporated long exposure techniques to create images that seem to exist outside of the reality our eyes perceive on a daily basis. My goal has not been to abstract the subject beyond recognition, but to simplify, to pull it out of its usual context, and try to see the ordinary surroundings of city life in a new way. The lessons I learned from my exercises in abstracting architecture have also carried through into other subject matter, including landscape and seascape, helping me to find solace and inspiration in unexpected places.
Ayanava Sil
Ayanava Sil
India
I am Ayanava Sil a resident of Kolkata, India. By education I hold a degree of Master Of Business Administration in Marketing. Photography to me is an exemption to see things differently. I am a Street and Documentary photographer, with an objective of documenting everyday life. The uncertainty and the suspense drives me the most towards these genres of Photography. Documenting people over the years has provided me with the invaluable opportunity to explore the unknown and to embrace the conglomerate realities of people. I am one of the administrators and curator of Streets Of Calcutta which is the oldest and the largest Street Photography archive of Kolkata. My works has been published and recognized by different platforms like National Geographic, National Geographic Traveller India, CNN America, Getty Images, Business Standard, World-Street-Photography Book 5, APF Street Photography Magazine, Better Photography India, Asian Photography, Chiiz Magazine etc. I have been awarded by The Andrei Stenin International Press Photo Awards, News Times, Eye Win Awards, Golden Orchid International Photography Awards etc. My works has also been exhibited in multiple photography exhibition, to name a few, Jaipur Art Summit 2016, Ariano International Film Festival 2017, Kolkata International Photography Festival 2019, Wlasnymi Slowami Film Festival 2019. Where I Bloom As the world combats with an invisible enemy, many of our lives have come to a standstill now. A month ago our lives were pretty foreseeable with simple daily conventional work that all of us were looking forward to. The coronavirus pandemic has changed the whole scenario, today countries are under locked down, schools and universities have been closed, events are cancelled and many people have been asked to work from home. We have seen the Government enforcing every preventive measure to slow the spread of the virus and flatten the curve. During this critical time, it is essential that everyone stays at home and helps to prevent the spread of this virus. In these tough times, photography is one of the major businesses that has been affected a lot by this pandemic. All studios have been shut down, weddings have been postponed, all the sports events have been cancelled and presently more than half of the world is locked down and there is no possibility of travelling. I am a photographer who loves to roam around the city unwearyingly to document life on the streets but due to the pandemic it is impossible to go out of my house to shoot now. So to keep myself in practice and to keep my sanity I chose to document my house but with a definite objective as this work of mine will have a different approach from the rest of my works. Also, I challenged myself to shoot everything through my phone only. So I started shooting every corner of my house from the ground floor to the terrace, through the windows and the doors, the plants in my house to the birds which flies above my terrace. I decide not to include any human subject and the only reason behind this decision is because we often feel like we are the most important species, but the fact is that we will fade away with time but we will leave behind a lot of things when we are gone. I tried to portray those moments keeping the photographs minimalist and graphical in form and ambiguous in nature. During all this time I had an interesting observation and I discovered that sunlight creates fascinating graphical shadow movements in different parts of my house during each phase of the day. I think that the only positive outlook amidst the COVID-19 pandemic outbreak is that nature has started healing. I do not remember when I last saw such timely Norwesters in the past few years. The Norwesters generally hit during the months of April and May. It mostly occurs late in the evening when thick, dark and black clouds start appearing in the sky. It generally moves from west to east bringing torrential rain often with strong wind and lasts only for a short period of time. The Norwesters are beneficial for cultivation purposes in West Bengal and Bangladesh. This year, the Norwesters bought different and beautiful cloud patterns and I tried to weave them within my work as well.
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