In the mid-1920s, Edward Weston developed a visual language of reduced simplicity and formal abstraction, focusing his lens on shells, vegetables, rocks, portraits, and nudes, transforming a given form into a set of lines, curves, and volumes. The human subjects of his photographs, more often than not, were his lovers and protégés, women for whom he felt both personal and professional attraction. Weston met Tina Modotti about 1920, and the silent film actress soon became his favored muse. In 1923 the two moved to Mexico, where Modotti developed a passion for photography as well.