The youngest working member of photography's revered Weston family isn't intimidated by the legacy of his grandfather, Edward (a patriarch of fine art photography), his father, Cole and uncle, Brett. "I am somewhat removed from Edward Weston," Kim once said, "I think it was more of a challenge for my dad -- or he let it be one -- to have such a famous father. I had the opportunity to learn different ways of dealing with stardom in the family when following the same path. For me, it's been a plus to find something so fundamental to my being, some way of expressing myself -- and be so supported in it at such an early age."

Perhaps this sentiment explains the split between Kim's dark, highly-constructed studio images and the Weston tradition of photographing the nude against natural backdrops. The photographer has been building his own scenery for years -- ever since a rainstorm forced him to cancel a shoot at the beach. Kim brought his model and a truckload of sand to his studio, and the result was so satisfying that he hasn't shot out-of-doors since. "I don't go out to try to find things to photograph," he said, "I create them." He does this by drawing his ideas on paper first, then building and painting a set, and finally bringing in his models -- often his wife and son -- for the shoot. Whether frozen in time as lonely, blindfolded statues or rawly passionate aggressors, Weston's models are blank slates, the vehicles through which the involuted Weston reveals and sates his own fantasies and demons."

Prints of photographs by Kim Weston can be purchased here.