How did Edward Weston combine close-up details with distant views in his landscapes?

Edward Weston’s approach to landscape photography evolved significantly throughout his career. Initially, he believed that nature, when unadulterated by man, was chaotic and therefore unsuitable for his "straight" photography style. Consequently, his early landscape work focused exclusively on intimate, close-up details, such as the roots and trunks of cypresses at Point Lobos.1

By the early 1930s, however, Weston began to integrate these two perspectives. He sought a viewpoint that combined his established close-up focus with a broader sense of distance. By the mid-1930s, his landscapes frequently incorporated a horizon line, allowing him to describe deep space in a naturalistic manner. This evolution enabled him to capture expansive vistas while maintaining the formal rigor and sharpness he had previously achieved within shallow, isolated pictorial spaces.1