Joel Meyerowitz

Unlike many photographers of his stature, Meyerowitz is largely self-taught. His learning came from constant experimentation and relentless practice on the streets of New York.

In the 1960s, color photography was considered inferior and commercial. Meyerowitz was one of the first fine art photographers to embrace color, helping to elevate it to a respected medium in the art world.

Meyerowitz has a fascination with the randomness of human interactions and urban life. He often compares his work to chaos theory, seeking beauty and order in what appears disorganized.

Meyerowitz rarely, if ever, asked his subjects for permission before photographing them. He believed the raw spontaneity of candid photography was essential for capturing the essence of life on the streets. The same technique was mastered by street photography pioneer, Bruce Davidson.

In the 1960s, Meyerowitz often carried two cameras: one loaded with black-and-white film and the other with color film. This allowed him to compare the two mediums and eventually commit fully to color.

Meyerowitz collaborated with Tony Schwartz, a sound archivist, to create multimedia presentations combining photography and street sounds. This early experiment was a precursor to modern multimedia art.

MoMA initially rejected Meyerowitz’s work, dismissing color photography as "too commercial." Ironically, his influence helped pave the way for color photography to be featured in museums worldwide.

After the September 11 attacks, Meyerowitz was the only photographer granted unrestricted access to Ground Zero. His photographs became an essential historical record of the aftermath.

Meyerowitz didn’t plan to be a street photographer. His early interest was in studio portraiture, but walking the streets of New York captivated him, leading to his iconic urban work.

Meyerowitz has often compared his photography style to jazz improvisation. He views the streets as a symphony of unpredictable moments, where timing and instinct are everything.

Meyerowitz often emphasizes the role of light in his work, calling it the "true subject" of photography. This fascination led to his acclaimed series of landscapes and still-life images, including the famous Cape Light: Fiftieth Anniversary Edition project.

Meyerowitz is a dedicated advocate for photography education. His instructional videos and lectures have inspired countless photographers, emphasizing the importance of curiosity and observation.

To capture fleeting moments, Meyerowitz sometimes photographed while jogging through crowds. This technique gave his images a dynamic, kinetic energy rarely seen in traditional street photography.

Henri Cartier-Bresson was an early influence, but Meyerowitz deliberately broke from Bresson’s strict compositional rules. Meyerowitz embraced clutter and chaos, favoring complex frames filled with visual layers.

He has published more than 30 photography books, many of which are considered seminal works in the field. His books range from street photography to landscapes, showcasing his versatility.

He has criticized modern photographers for overthinking their work. He believes photography should be intuitive and rooted in the experience of seeing, rather than overly conceptual or technical.

Meyerowitz is also an art collector, with a particular interest in painting. He believes this cross-disciplinary appreciation sharpens his eye and inspires his work.