Problem: Background: Edward Henry Weston (March 24, 1886 - January 1, 1958) was a 20th-century American photographer. He has been called "one of the most innovative and influential American photographers..." and "one of the masters of 20th century photography." Over the course of his 40-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lifes, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a "quintessentially American, and specially Californian, approach to modern photography" because of his focus on the people and places of the American West.
Context: Weston was a prolific writer. His Daybooks were published in two volumes totaling more than 500 pages in the first edition. This does not include the years of the journal he kept between 1915 and 1923; for reasons he never made clear he destroyed those before leaving for Mexico. He also wrote dozens of articles and commentaries, beginning in 1906 and ending in 1957, and he hand-wrote or typed at least 5,000 letters to colleagues, friends, lovers, his wives and his children.  In addition, Weston kept very thorough notes on the technical and business aspects of his work. The Center for Creative Photography at the University of Arizona, which now houses most of Weston's archives, reports that it houses 75 linear feet of pages from his Daybooks, correspondence, financial records, memorabilia, and other personal documents in his possession when he died.  Among Weston's most important early writings are those that provide insights into his development of the concept of previsualization. He first spoke and wrote about the concept in 1922, at least a decade before Ansel Adams began utilizing the term, and he continued to expand upon this idea both in writing and in his teachings. Historian Beaumont Newhall noted the significance of Weston's innovation in his book The History of Photography, saying "The most important part of Edward Weston's approach was his insistence that the photographer should previsualize the final print before making the exposure."  In his Daybooks he provided an unusually detailed record of his evolution as an artist. Although he initially denied that his images reflect his own interpretations of the subject matter, by 1932 his writings revealed that he had come to accept the importance of artistic impression in his work. When combined with his photographs, his writings provide an extraordinarily vivid series of insights into his development as an artist and his impact of future generations of photographers.
Question: Are there any other interesting aspects about this article?
Answer: Weston was a prolific writer. His Daybooks were published in two volumes totaling more than 500 pages in the first edition.

Background: Rodney Philip Hide was born in Oxford in Canterbury. His father, Philip Hide, owned a small mixed-farm at Cust and also drove trucks. In 1960, due to sickness, Philip Hide sold the small farm and moved to Rangiora, continuing to drive trucks until his retirement. Rodney Hide attended Rangiora High School, before gaining a degree in zoology and botany from the University of Canterbury.
Context: Hide held the seventh place on the ACT party list for the 1996 elections. ACT received enough votes for Hide to enter Parliament, making him one of the party's "founding" MPs. He gradually rose through the party's ranks, reaching second place in the ACT list for the 2002 elections.  In his maiden speech, Hide made a specific attack on "perks" enjoyed by MPs, and this "perk-busting" became a characteristic of his political career until he was himself exposed for taking advantage of such perks, in taking his girlfriend on a tax payer funded trip to London and Hawaii. Hide still however claims to have developed a substantial reputation for finding and exposing "scandals", whether they relate to MPs' perks or to other governmental matters. Hide's critics often claim that his "scandals" rely on sensationalism and exaggeration, and have as their only purpose the gaining of media attention; but his supporters believe that Hide's constant scrutiny "keeps the government honest" and ensures that the administration does not waste taxpayers' money.  Roger Douglas himself has emerged as one of Hide's more prominent critics, referring to Hide's "stunts" as detracting from ACT's core economic message, shifting focus to populist issues of law and order and to provocative race relations policies. At a party conference, Douglas condemned MPs "who run any fickle line capable of grabbing short-term votes and attention", a comment allegedly directed at Hide or at his supporters. Hide acknowledges the criticism, but defends himself on the grounds that a focus on pure economic theory will not attract interest: "the problem is that the so-called stunts are particularly well-reported and my work explaining free market ideas disappears without trace." The tension between Douglas and Hide increased when Hide made a bid for the vice-presidency of ACT in 2000: supporters of Douglas interpreted this action as a challenge to Douglas' organisational authority within the party. Both Douglas and Hide stood down from their roles as President and Vice-President, suggesting an uneasy truce between these two factions. In 2008 the two men worked closely together with Douglas holding third place on the party list following Hide and Heather Roy.
Question: How was this seen by the public?
Answer:
his supporters believe that Hide's constant scrutiny "keeps the government honest" and ensures that the administration does not waste taxpayers' money.