| 词条 | Pepper No. 30 |
| 释义 |
Pepper No. 30 is one of the best-known photographs taken by Edward Weston. It depicts a solitary green pepper in rich black-and-white tones, with strong illumination from above. In the late 1920s Weston began taking a series of close-up images of different objects that he called "still lifes". For several years he experimented with a variety of images of shells, vegetables and fruits, and in 1927 he made his first photograph of a pepper.[1] He received mixed feedback about that image,[2] but two years later he started a new series that focused on peppers alone. He recorded twenty-six negatives of peppers taken during 1929, mostly taken against plain burlap or muslin backdrops. A year later, during a four-day period from August 2–6, 1930, Weston took at least thirty more negatives of peppers.[3] He first tried again with plain muslin or a piece of white cardboard as the backdrop, but for these images he thought the contrast between the backdrop and the pepper was too stark. On August 3 he found a large tin funnel, and, placing it on its side, he set a pepper just inside the large open end. He wrote:
By placing the pepper in the opening of the funnel, Weston was able to light it in a way that portrays the pepper in three dimensions, rather than as a flat image. It is this light that gives the image much of its extraordinary quality. Photo historian Amy Conger, in her extensive catalog of Weston's prints at the Center for Creative Photography, said Weston made at least twenty-five prints of this image, making it his most popular pepper. She wrote, "There are many reasons for this, the long, smooth, barely turned surfaces; the glow of the light reflecting unpredictably on the firm skin; the gentle "S" curves ‒ all factors enhanced by the almost exaggerated contrasts between light and dark, concave and convex, abstract and tactile; the firm waxed surfaces toughing the scratched tin. Even the rotten spot on the lower right of the back of the pepper does not detract from the sensuous and sensual intensity. Instead the spot grounds the subject, heightening the tension between the subject and form as well as ideal and real."[5] Years later, Weston wrote about the lasting impact of his pepper images:
At the same time he expressed a some very candid frustration with those who described his peppers in sexual tones:
On the back of a print of one of his peppers that he gave to a friend, Weston wrote, "As you like it ‒ but this is just a pepper ‒ nothing else ‒to the impure all things ‒ are impure."[8] Weston made this photograph using his Ansco 8×10 Commercial View camera with a Zeiss 21 cm. lens. The smallest aperture on this lens is f/36.{{Citation needed|date=August 2017}} All prints of Pepper No. 30 are silver gelatin contact prints, approximately 9{{fraction|1|2}}" × 7{{fraction|1|2}}" (24.1 × 19.2 cm) ‒ the exact size of the 8" × 10" film he used. Some slight variations in size exist due to paper shrinkage over time. Most of the original prints made by Weston are now in museums, including the Center for Creative Photography, Metropolitan Museum of Art, Minneapolis Institute of Art and the George Eastman House. After his death, his son Cole Weston made multiple prints of this image according to his father's specifications; all of these prints are clearly labeled as "Printed by Cole Weston." Notes1. ^{{cite book|first=Amy |last=Conger|title= Edward Weston: Photographs from the Center for Creative Photography|publisher=Tucson: Center for Creative Photography |year=1992| pages=Fig. 562}} 2. ^{{cite book|first=Edward |last=Weston|editor=Nancy New hall |title= The Day-books of Edward Weston, Volume II|publisher=NY: Horizon Press |year=1961| pages=42}} 3. ^Conger, Fig. 606 4. ^Daybooks ,II, 180 5. ^Conger, Fig. 606 6. ^Daybooks ,II, 225 7. ^Daybooks ,II, 225 8. ^Conger, Fig. 562 External links
4 : 1930 in art|1930 works|Black-and-white photographs|1930s photographs |
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