Joel Meyerowitz


During this time I was printing in color but found that the 35mm prints were not as descriptive as the kodachrome slides they came from and I wanted more from the print. This passion for description led me, in 1976, to buy an 8×10 inch wooden, Deardorff view camera. Working with it was completely different than the physicality of the handheld camera, but ultimately led me to a way of working that I had earlier, and with youthful prejudice, thought only those old guys -Adams and Weston - would use. What a shock then, to see how quickly I was captured by its advantages as well as its limitations. The history of art is filled with artists who put resistance in their path in order to reinvent their method of working. By using a 19th century style camera with contemporary color film I gave myself an opportunity to ask questions about timing, content, and complexity, about space and light, about what constitutes and defines the landscape, about how to make a portrait, and perhaps most challenging of all to contemporary artists, what role does the "beautiful" play in photography?


Quote taken from the interview by John Saponara published on Too Much Chocolate (see links below)

 Photo: Porch, Provincetown 1977, Joel Meyerowitz.

Photo: Porch, Provincetown 1977, Joel Meyerowitz.