Growing up, I didn't give my grandfather's photography a second thought. I wasn't involved in his work, except that I helped my dad print his negatives.
I didn't want to travel. I didn't want to leave my family. I heard all these stories from Dad about not having Edward around when he was young, and I didn't want that to happen.
I don't think at that time I realized how important it was and how important it was for me to be here and carry on that legacy in our family of being a photographer.
I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.
I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.
If no one wants to jump into a Kim Weston and drive it down the street. That's fine with me I don't care. I know my work is good and I know it's serious work.
If you're not going to tell something if you're not going to expose something it's real easy to go in and photograph from behind the camera and not expose any of your weaknesses.