“Pepper No. 17” (2022) AKA “John & Yoko” (2022) – For Sale: $1.1 Million

I’m a believer in doing the work, making the photographs, putting it out there, and then getting started on the next project.

I’m also a fan of grocery shopping and buying delicious vegetables and making interesting dinners like the Mississippi Pot Roast I made today. But when I went to the grocery store last night, I realized you have to be a photographer to pick up the gnarly-looking pepper, because, well, Weston #30? And of course, you have to photograph it.

So, without further ado, here it is, “Pepper #17″ (2022) – Prints available, $1.1 million – Please consider reaching for your checkbook or sharing with your wealthy friends.

Pepper #17″ (2022) or its alternate title, “John and Yoko” (2022)

It’s quite possible to sell for that price, this potato did just that, and my pepper is way more colorful.

“Potato #345″ (2010)

Pepper #30″ (1930)

Edward Weston made his famous “Pepper #30(1930) by placing his pepper in a cornucopia.

Here’s my setup. I used a developing tank as that just seemed appropro in lieu of a goat’s horn. (Not a lot of goats around here!)

And it only took me 17 frames, not 345 tries, not even 30! How about that! (Maybe there is a G.O.A.T. around here after all ;-).

Buy now, as this is a limited edition of just 10 prints, the price is sure to only go up.

2 thoughts on ““Pepper No. 17” (2022) AKA “John & Yoko” (2022) – For Sale: $1.1 Million

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    1. From an online search. While arranging a pepper one day, he finally solved a considerable problem: he no longer balanced it against a muslin backdrop or a piece of white cardboard, but instead he ingeniously used a tin funnel to hold the pepper which added reflecting light to important contours of the pepper. He shot the pepper by setting the lens to a small aperture of f/64 to secure maximum sharpness for minute details and for sculptural forms. Weston excitedly described capturing the image in a journal:

      Weston: “I must get this one today: the pepper is beginning to show the strain and tonight should grace a salad. It has been suggested that I am a cannibal to eat my models after a masterpiece. But I rather like the idea that they become a part of me, enrich my blood as well as my vision. Yet something kept me from taking it to the kitchen, the end of all good peppers. I placed it in the funnel, focused with the Zeiss, and, knowing just the viewpoint, recognizing the perfect light, made an exposure of six minutes…I have a great negative, by far the best!”


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