Bøger af Joel Meyerowitz

Cape Light, Joel Meyerowitz's series of serene and contemplative color photographs taken on Cape Cod, Massachusetts, quickly became one of the most influential and popular photobooks in the latter part of the 20th century after its publication in 1978, breaking new ground both for color photography and for the medium's acceptance in the art world. Now, more than 35 years later, Joel Meyerowitz: Cape Light is back. This edition features all the now-iconic images, newly remastered and luxuriously printed in a larger format. In Cape Light, everyday scenes—an approaching storm, a local grocery store at dusk, the view through a bedroom window—are transformed by the stunning natural light of Cape Cod and the luminous vision of the photographer. Though Meyerowitz had begun shooting in color on the streets of New York a decade earlier, it was this collection of photographs that brought his sensitive color photography to wider notice. Meyerowitz is a contemporary master of color photography, and this powerful, captivating photobook is a classic of the genre.

Where I Find Myself is the first major single book retrospective of one of America's leading photographers. As the title indicates, it is organized in inverse chronological order and spans the photographer's whole career to date.

The first in a landmark new series of photography books where key photographers lead you through all you need to know to understand how they take their amazing shots

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...

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.

Suitable for children between the ages of nine and twelve, this is an introduction to photography that asks how photographers transform ordinary things into meaningful moments. It 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 more.

Limited-edition two volume monograph on one of America's most influential photographers.