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An early advocate of colour photography, Joel Meyerowitz has
impacted and influenced generations of artists. For fifty-eight
years, the master photographer has documented the US’s
ever-changing social landscape. For a while, during the late 1960s,
Meyerowitz carried two cameras: one loaded with monochrome stock,
the other with colour. Just how, when and why US fine-art
photographers switched from black-and-white image-making, which was
prized within the gallery system, to colour photography, once seen
as the preserve of the holiday snapper, has been the cause of much
debate. In this book, Meyerowitz tells the story of his early days
as a photographer when he was told that serious photographers took
black & white pictures. 'But why?' he asked, 'when the world is
in colour?' He proceed to buy a colour camera and various rolls of
films and to read manuals and experiment with colour techniques: a
passion he continued to pursue all his life...
Joel Meyerowitz is one of the pioneers of color photography, as
well as an essential reference figure for street photography,
large-format photography, and portraits. The Pleasure of Seeing is
his first biography, the book offers a look behind the scenes of
the life and career of one of America's photographic living
legends. In conversation with historian and photographer Lorenzo
Braca, Meyerowitz speaks vividly about his beginnings, studying art
history, meeting Robert Frank, photographing on the streets of New
York City with Tony Ray-Jones and Garry Winogrand, traveling
extensively across America and Europe, learning from John
Szarkowski, director of photography at MoMA, working on numerous
exhibitions and publications, photographing at Ground Zero in 2001
and 2002, and about the most recent still lifes and self-portraits
projects. The book contains over one hundred pictures, including
Joel's most iconic photographs as well as new and previously
unpublished material. This comprehensive visual biography testifies
to the author's continuing evolution throughout the six decades of
his career and discusses his work in relation to his personal life,
to the history of photography, and to the incessant transformation
of the medium. Meyerowitz reveals anecdotes, personal memories, and
the story behind many of his famous photographs.
It was in 1978, during my first summer of making portraits while
using an 8x10 inch large format camera, that I found myself drawn
to photographing redheads. I have often been asked; 'why redheads,'
and I've often felt it was because in summer redheads seem to bloom
in the sun more gloriously than the rest of us. But it also might
have been my living far out on the tip of Cape Cod, surrounded by
all the blue light of sea and sky, which made me pay more attention
to the flamboyant qualities of redheads. Their hair and the exotic
markings of their skin in sunlight became even rosier and more
astonishing in that blue atmosphere. Redheads, like film itself,
are transformed by sunlight. It seems natural to me now that I
would have paid attention to this new phenomenon as it appeared
within the larger subject of the Cape itself. After making more
than 50 portraits that first month, in which at least 30 were of
redheads, I understood that this was an impulse to be taken
seriously. I ran an ad in the local paper, the Provincetown
Advocate: "REMARKABLE PEOPLE! If you are a redhead or know someone
who is, I'd like to make your portrait, call...." They began coming
to my deck, bringing with them their courage and their shyness,
their curiosity and their dreams, and they shared their stories of
what it was like to be a redhead. They spoke of the painful
remembrances of childhood, the violations of privacy and name
calling-"Hey, red," "freckle face," "carrot head." They also shared
with me their sense of personal victory at having overcome this
early, unwanted celebrity, and how like giants or dwarfs or
athletes they had finally grown into their specialness and by
surviving had been ennobled by it. You could say that they had been
baptized by their own fire, and that their shared experience had
formed a "blood knot" among them. I had begun making portraits with
the intention of photographing ordinary people. But redheads are
both ordinary and special. Their slender slice of the genetic pie
accounts for only 2 or 3 percent of the world's population. As
different as redheads are in terms of nationality and religion,
they often give the appearance of a strong familial connection. My
way of making portraits is not by getting down on my hands and
knees, nor climbing high on a ladder, nor getting into bed with a
celebrity, but simply standing eye to eye with anyone has found
their way to me, young or old. I need only one or two sheets of
film and the patience to see it through. This new edition of
'Redheads' will have a number of new and previously unseen
portraits.
In this book, the authors explore and discuss the development of
one of the most interesting and dynamic of photographic genres.
Hailed as a landmark work when it was first published in 1994,
Bystander is widely regarded by street photographers as the 'bible'
of street photography. It covers an incredible array of talent,
from the unknowns of the late 19th century to the acknowledged
masters of the 20th, such as Atget, Stieglitz, Strand,
Cartier-Bresson, Brassai, Kertesz, Frank, Arbus, Winogrand and
Levitt to name just a few. In this new and fully revised edition,
the story of street photography is brought up to date with a
re-evaluation of some historical material, the inclusion of more
contemporary photographers and a discussion of the ongoing rise of
digital photography.
Where I Find Myself is the first major single book retrospective of
one of America's leading photographers. It is organized in inverse
chronological order and spans the photographer's whole career to
date: from Joel Meyerowitz's most recent picture all the way back
to the first photograph he ever took. The book covers all of Joel
Meyerowitz's great projects: his work inspired by the artist
Morandi, his work on trees, his exclusive coverage of Ground Zero,
his trips in the footsteps of Robert Frank across the US, his
experiments comparing color and black and white pictures, and of
course his iconic street photography work. Joel Meyerovitz is
incredibly eloquent and candid about how photography works or
doesn't, and this should be an inspiration to anyone interested in
photography.
Photographer Joel Meyerowitz is renowned for his vast spectrum of
work. He is a preeminent street photographer, having broken new
ground in the genre in the 1960s. He is also a pioneer of color
photography, as testified by his classic pictures of Cape Cod. And
he is the photographer who has given us unforgettable images of
Ground Zero. Spanning a career rich with creative milestones and
iconic works, "Joel Meyerowitz: Taking My Time" explores the
enduring influence of the master photographer over the past
half-century.
The two volumes of this superb limited edition feature close to 600
photographs edited and sequenced by Meyerowitz to create a
chronological record of his evolution as an artist and the crucial
role he played in the emergence of color photography. A fitting
tribute to an illustrious career, "Joel Meyerowitz: Taking My Time"
showcases the photographer's entire oeuvre, including both landmark
and previously unpublished photographs.
Volume 1 of this two-volume set covers 1962 to 1974. The images in
this volume include Meyerowitz' seminal color photography and
black-and-white street photographs of New York City; images taken
during a year in Europe which he refers to as his coming-of-age bot
as an artist and a man; and documentation of America during the
Vietnam War years. Volume 2 takes us through to present-day,
spotlighting his trademark images of Cape Cod; portraits;
photographs taken while traveling through Tuscany and other places;
his chronicle of the road trip he took with his son and his father,
who had Alzheimer's; indelible images of Ground Zero; and
transporting pictures of the parks of New York.
Featuring a signed print, a DVD of Meyerowitz's award-winning film
"Pop" - in which he chronicles the road trip he took with his son
and father (who at the time was suffering from Alzheimer's) and a
graphic novel adapted from the film, "Joel Meyerowitz: Taking My
Time" is a compelling record of the creative and professional
development of a master photographer, and a tremendously personal,
inspiring work.
Aimed at children between the ages of nine and twelve, Seeing
Things is a wonderful introduction to photography that asks how
photographers transform ordinary things into meaningful moments. In
this book, acclaimed and beloved photographer Joel Meyerowitz takes
readers on a journey through the power and magic of photography:
its abilities to freeze time, tell a story, combine several layers
into one frame, and record life’s fleeting and beautiful moments.
The book features the work of masters such as William Eggleston,
Mary Ellen Mark, Helen Levitt, and Walker Evans, among many others.
Each picture is accompanied by a short commentary, encouraging
readers to look closely and use their imagination to understand key
ideas in photography such as light, gesture, composition—and,
ultimately, how there is wonder all around us when viewed through
the lens.
The 'Masters of Photography' series is a new approach to
photography how-to. Each volume is dedicated to the work of one key
photographer who, through a series of bite-sized lessons and ideas,
tells you everything you always wanted to know about their approach
to taking photographs. From their influences, ideas and
experiences, to tech tips and best shots. The series begins with
Joel Meyerowitz, who will teach you, among other essentials: how to
use a camera to reclaim the streets as your own, why you need to
watch the world always with a sense of possibility, how to set your
subjects at ease, and the importance of being playful and of
finding a lens that suits your personality. Praise for Joel
Meyerowitz's retrospective, Where I Find Myself: "So let me say it
plainly: Joel Meyerowitz's Where I Find Myself is a compelling,
wonderful, deeply pleasing collection of an essential
photographer's work. [it] is a necessary book. Necessary because of
its size and scope. Necessary because of the way it holds the
aesthetic of the artist in the air." LensCulture "More than just a
career retrospective, Meyerowitz's book is a personal celebration
of photography as an art form." Publishers Weekly "After over half
a century of making pictures, Meyerowitz is noted as one of the
most influential photographers living today. A new book titled Joel
Meyerowitz's Where I Find Myself brings together his tremendous
archive to create a portrait of not only America during the 20th
and early 21st centuries, but also a prolific artist with a
lifetime of groundbreaking work." BuzzFeed "Joel Meyerowitz's Where
I Find Myself is a pièce de résistance, a masterful feat of
publishing that sets the bar as high as it can possibly reach. The
photographer's magnum opus opens in the present day, with his most
recent body of work and unfolds in reverse chronological order,
leading us through a spellbinding life in photography that is
simply unparalleled." Feature Shoot "After 40 years Meyerowitz
continues to entice and enthrall with a consistency of vision that
reshapes subject matter in his own light. If you are a fan of
Meyerowitz's work and especially of Cape Light, this lifetime
retrospective will be a treasured addition." New York Journal of
Books
T&HFL12 After a lifetime of working on a series of
“collective portraits” in far-flung places such as Mexico;
Ghana; Italy; Tir a’Mhurain, Scotland; and his adoptive country,
France, an aging Paul Strand decided to concentrate on still lifes
and the stony beauty of his own garden at Orgeval, France, as a
site in which to distill his discoveries as a photographer. The
work that constitutes The Garden at Orgeval is marked by close and
careful study of the forms and patterns within nature—of tiny
buttonshaped flowers, cascading winter branches, and fierce snarls
of twigs. While the images bear the same directness and precise
vision that is quintessentially Strand, the work also reflects a
growing metaphorical turn. Renowned photographer Joel
Meyerowitz—whose own affinity toward Strand’s Orgeval series
stems from a lifetime of photographing in different genres and
ultimately returning to nature as an enduring subject—will select
the photographs in the book, and respond to them in an accompanying
personal essay, reflecting on issues, including the contemplation
of one’s garden and growing old. Beautifully produced in a modest
size, in the manner of a volume of poems, this book’s task is to
do credit to Strand’s final work, both as an individual and as a
key figure in Modernist photography.
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