Arthur Meyerson is recognized as one of America’s finest photographers. This native Texan has traveled throughout the world, creating award winning advertising, corporate and editorial photographs as well as an extensive body of fine art imagery.

When did you realize your inclination towards photography? What was the first object you shot?
I never really planned to become a photographer. When I was a senior journalism student in college, I had to take the course, “Photojournalism 101” which was really a basic black and white processing/printing class. In the darkroom, as soon as I saw the image appear on paper, I was hooked. Shortly after graduating, I bought a 35mm camera and went to Europe for 3 months where I shot anything and everything.

What is your approach towards photography?
First of all, I try and avoid preconceptions, because I’m more than likely to be disappointed by what’s not there and actually miss what is there. Also, I try to keep it simple… say the most with the least.
                    
What genre do your photos belong to?
As a commercial photographer, I own a studio and have photographed all over the world. At the same time, I’ve always tried to avoid being “labeled” a certain type of photographer. But for the most part though, I’d consider myself a location photographer.

“Light and color can come together at a moment in time and create an atmosphere, emotional response and/or a sense of place and for me, that is the power and joy of the color of light.”

In spite of being a successful commercial photographer, you have also spared some time pursuing your creative passion for photography. How do you balance both?
It’s never been an issue for me. I usually have a camera with me and I’m always looking. I may not shoot everyday but it is all part of the process of learning how to see and discovering what interests me photographically.

Balancing your personal life and family is much more difficult and I’ve been very fortunate in that. My wife and children have always been supportive.

Have you, at any point of time felt that in commercial photography, you need to sacrifice your creativity to meet the demands of your client?
I’ve tried very hard to avoid that. The client usually is coming with a different point of view than yours. At the same time they know their company better than you. What I try to get them to do is explain what it is that they wish to say and then do my best to illustrate it. I always say that you owe it to the client to try it their way; you owe to yourself to do it your way and hopefully they’ll like your way. I think it’s really about listening, exploring possibilities and giving them options.

“You need to have interests outside of the photo world because the more well rounded you are, the more successful you’ll be creatively.”

Color of light’ is your obsession. Could you comment on the same?
For me, it starts with an appreciation of light and color. Light produces color. It can be soft or intense. Color can provoke or excite as well as inform. At their best, light and color can come together at a moment in time and create an atmosphere, emotional response and/or a sense of place and for me, that is the power and joy of the color of light.

Ernst Haas has been your friend and mentor. What are the most important things you learned from him?
Well, Ernst was truly an amazing person whose interests exceeded photography. He had a unique way of conveying his knowledge and those of us who were lucky enough to have learned from him were greatly affected.

One simple thing that I did pick up from him early on, and still try to pass on to others, is that the less you carry (equipment-wise) the more you shoot because you’re not concentrating on the weight on your shoulder and therefore, are more focused on the act of seeing.

You’ve received great honors in your career. What would you say has been the highlight of your career?
Well the honors have been reaffirming as they have come from my colleagues. But I’ve always felt very fortunate in having a profession that I loved and which allowed me the opportunity to meet the people I’ve met and travel to places I never dreamed I would see.

Also, I would have to say that teaching workshops, leading photo tours and mentoring have all been a huge part of my photographic life in that I am able to help guide others toward their personal photographic goals.

Looking back at your work, which of your pictures make the strongest impression on you?
That question always makes me feel like I’m being asked “which is your favorite child?”
While there have been many that have made a strong impression, I’m drawn to those that tell a story. And the story may not always have an answer… but rather provoke a question.

“I may not shoot everyday but its all part of the process of learning how to see and discovering what interests me photographically.”

Could you kindly provide a word of advice to the budding photographers of today? 
Know the work of those that came before you and learn film as well as digital because you need to know where you’ve been to know where you are going. Also, be your own toughest critic. Finally, you need to have interests outside of the photo world because the more well rounded you are, the more successful you’ll be creatively.

	Quick6: Favourite camera : Leica M9 and the Nikon D700 Favourite printer: I like and use both my Epson 3800 and Epson 9880 simply because of the quality of image produced and the ease of use Favourite location: I’ve been to over 90 countries. For me, every place has its own uniqueness. I love traveling and experiencing new places, so I suppose for me my favourite location will be wherever I am next with my camera. Favourite photographer: I do not have a single favourite. I like and have been influenced by the work of many: Henri Cartier-Bresson, Edward Weston, Robert Frank, Irving Penn, Ernst Haas and Jay Maisel. Toughest day at work: Every profession has “bad” days. Photography to me is a performing art as well as a visual art. So how you deal with those situations is the key. Favourite shoot: That's a tough one. Coca-Cola was my longest running client and certainly one of the best. Those assignments took me all over the world. However, one shoot I really enjoyed was for Russell Athletic, the sports clothing company. The theme was "Route 66", the famous highway  (the road is famous for it's "Americana" motels, eateries, souviner shops, etc.)  that crosses America from Chicago to Los Angeles. I was pretty much given "carte blanche" to shoot whatever I wanted, however I wanted, in documenting this road trip across the United States. So, I chose to shoot it with a panoramic camera as I thought that the long horizontal was a perfect metaphor for the view one gets when looking through the windshield of a car. I did the trip in 10 days and my only regret was not having more time.

Here’s a picture from the shoot:

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