Working in portrait studios early in his career and observing their camera operators in action ultimately led Edward Weston to reject the directorial mode in his personal work. Instead, he sought to reveal the multiple aspects of a subject's identity. In 1924 in Mexico City, Weston stumbled upon the idea of capturing a sitter in mid-vocalization, and soon made a series of portraits of his lover, Tina Modotti, reciting poetry. As he wrote, he sought to register "her remarkably mobile face in action." The prints Weston produced from this sitting capture Modotti's animated features and warmth.