Weston was using a photoelectric light meter within a few years of the introduction of the Weston meter. In an article that appeared in the 1939 February issue of Camera Craft, he lists a Weston meter among the equipment used for the first Guggenheim Fellowship. In the U. S. Camera Annual 1940 he lists the meter with the gear he used for both Guggenheim Fellowships. In an article in the May 1939 Camera Craft, he wrote:
Originally Posted by Jim Noel
". . . A beginner seriously interested in becoming a good photographer will be wise to learn to judge light accurately on his ground glass before he gets an exposure meter. The average reaction to this statement will be that I am a fuddy-duddy, insisting one learn to drive a buggy long after it has been replaced by the automobile. But let us examine the facts. A photo-electric cell will give you an exact reading of light in canclepowers which, by twirling a few dials, you can translate into the correct expsure under given conditions for a given aperture. But what is the "correct" exposure? The only correct exposure is the one that will produce exactly the effect you want in your finished print, via the negative. And for this purpose you may not want an average negative at all.
The photo-electric cell is an invaluable instrument--I am never without one--but its reading should not be become the photographer's gospel. Rather it should be used to give him a quick and accurate point of departure from which to guage exposure.
In the hands of a beginner the danger is that the meter may become a barrier. When it is but a moment's work to take a reading, the photographer is inclined to pay little attention to the all-important element of light itself."
The above information is from Bunnell, Peter C., ed. [I]Edward Weston on Photography/I]. Salt Lake City: Gibbs M. Smith, Inc., Peregrine Smith Books, 1983.
In Willard Van Dyke's 1948 movie The Photographer Edward Weston, Weston is shown using and recommending a light meter. We should remember that he was using Kodachrome during that filming, so exposure was much more critical than the B&W he could develope by inspection.