In his early practice, Edward Weston adopted a Pictorialist manner, composing romantic and misty scenes. However, after meeting Alfred Stieglitz and Paul Strand, the American photographer decided to work with a more precise modernist aesthetic, experimenting with various techniques during the 1920s, playing with angles and close-ups. Eager to render ‘the very substance and quintessence of the thing itself, whether it should be polished steel or palpitating flesh’, Edward Weston photographed still lives such as his mystical and sensual seashells in the same way he depicted his lover, Tina Modotti, and other sitters in intimate nudes that confounded themselves with organic forms such as the sand of curvaceous dunes. Some of his nudes are almost unrecognizable as such and resemble landscapes or smooth sculptures in the manner of a Constantin Brancusi, androgynous silhouettes that tend to abstraction. As he helped bring photography further beyond its Victorian era’s principles, Edward Weston fulfilled his own manifest of making ‘the commonplace unusual’.