Now and then I grab a picture book out of the heap of books that slowly but steadily builds around my bed. This time an Aperture monograph fell in my hands:
Edward WESTON. The Flame of Recognition. His photographs accompanied by excerpts from the Daybooks & Letters. Edited by Nancy NEWHALL. 2nd edition NewYork 1971.
The f-number (Ger., Eng.) (Blendenzahl in German) rules the Schärfentiefe (Ger., Eng.), depth of field. (Schärfentiefe is not exactly the same as Tiefenschärfe, but this is not a camera workshop and I would face serious difficulties to explain it even in German.) The f-number is a number without dimension, it does not come with a unit like centimeter or lux, it describes the ratio between focal length and aperture diameter. Large numbers allow more depth of field, 64 is a very large number. WESTON (a quick glance at his pictures) used for most of his works a Medium Format camera, Mittelformatkamera (Ger., Eng.).
f/64 (Ger., Eng.) is also the name of a group of photographers that formed 1932 as a kind of opposition to the mainstream pictorialist style (Ger., Eng., examples here), as represented for example by STIEGLITZ (Ger., Eng) and located around 291 (Ger., Eng., history here, don’t forget Georgia O’KEEFE).
To this group belonged A. ADAMS (Ger., Eng., essay, works), I. CUNNINGHAM (Ger. , Eng., trust, heritage), J. P. EDWARDS Eng., his estate should be in the Oakland Museum, but I can find nothing there), S. NOSKOWIAK (Ger., Eng., estate at the CCP), H. SWIFT (Eng., his estate should be in the SFMOMA, but it is not shown), W. VAN DYKE (Ger. , Eng., link here and there), E. WESTON (Ger., Eng., works (!)); HOLDER (Eng.), KANAGA (Eng., work), LAVENSON (Eng., estate, her mining town pictures) and Brett WESTON (Ger., Eng., archive, gallery), Edward’s son, were associated.