Nautilus (photograph)  Nautilus is a black-and-white photograph taken by Edward Weston in 1927 of a single nautilus shell standing on its end against a dark background. It has been called "one of the most famous photographs ever made" and "a benchmark of modernism in the history of photography." In February, 1927, Weston visited the studio of local Carmel artist Henrietta Shore and noticed several paintings she had made of sea shells. Only one of these paintings is known to still exist (as of January, 2011), and it shows a stark and solitary nautilus on a dark field, not unlike Weston's resulting photographs. He made it clear in his writings that the paintings had a profound effect on him:  Within a month he began photographing several different large chambered nautiluses, either whole or cut in half to reveal their inner structure. He used his Ansco 8 × 10 Commercial view camera with a Rapid Rectilinear lens stopped down to US256 (equivalent to f/64) . Notations he made about his exposures during this period indicate that the film he used would be rated approximately equivalent to 16 on today's ISO scale. Due to the technical limitations of the film and the camera he used, he was forced to make extremely long exposures that were easily ruined by vibrations. Weston's grandson Kim Weston said his grandfather propped up the shell on the end of an oil drum (the arc of the drum can barely be seen in the background of the image), and the thin metal oil drum head was sensitive to the slightest movement. Weston expressed his frustrations in his 'Daybooks":  He recorded that over the next several months he made fourteen negatives of shells. It's not known exactly when he took this particular image, but it had to have been made between April 1 and June 8, 1927, when he recorded in his journal "Last evening I had printed, and am ready to show all shell negatives…". "Nautilus" is now recognized as one of Weston's greatest photographs, but all of his images of shells have a greater-than-life quality to them. Weston biographer Ben Maddow has said that what is so remarkable about them "is not in the closeness nor in the monumentality of the forms; or at least, not in these alone. It is instead in the particular light, almost an inward luminescence, that he saw implicit in them before he put them before the lens. Glowing with an interior life . .. one is seeing more than form."