The most praised work of Weston was his portraits and the modern dance studies. He had used special skills of extended exposure time in his photography so that the printed image could appear brighter and lighter. Sexuality and gender have been significantly witnessed in the portrait photography of Edward Weston (Becker 2017). He has photographed the portraits of females with deep and intense expressions. In addition, Weston had kept a detailed journal about is life, work and inspirations. Thus, his journal has included many photographs of the females and has mentioned his love affairs.
In the year 1920, Weston started photographing the nude figures, which was the start of sexuality in his work. He started enjoying photographing the nude figures and his first model was his wife Flora. His conservative style changed after meeting Margrethe Mather. She came to his studio after knowing about his increasing reputation and soon they developed an intense relationship. She was very artistic and her sexual morals were different from Weston. He started integrating female sexuality in his photographs and it was significantly aligned with ‘art’ (Van Marle 2006). Sexuality and gender were the form of modernists’ ideals that were combined by Edward Weston and even represented modernity in his art.
His modernistic photographic style soon became encoded with minimalism, semantic ideals and advent-gardism (Van Marle 2006). These aspects of sexuality and gender were more visible in his representation of the female body. According to (Van Marle 2006), “he refused the sexual charge of mystic gaze and fetishised accessories and, instead abstracted the body” (p. 50). Some of the significant details such as the pubic hair and nipples were avoided for representing sexuality or gender. However, the whole intimacy and sexuality was represented through the face of the nude woman, where the head was cropped or blurred to represent sexuality.