doug menuez 2.0: go fast, don’t crash


F Stop Beyond: Interview with Doug Menuez
May 31, 2009, 11:26 am
Filed under: Inspiration | Tags: , , ,

MY BLOG HAS MOVED!!

Please change your RSS and bookmarks! Please vist my blog now at:

www.dougmenuez.com

interview audio

Ron Dawson is the rarest of talents– he has built a career and business around his passion and is a special example of how to merge art and commerce to live your dreams. An exceptionally gifted and accomplished writer, director, and award-winning video producer, speaker, instructor, and columnist, Ron also conducts some of the most useful and interesting interviews with photographers I’ve come across. Check out his show F-Stop Beyond: The EXPERIENCE. Ron asks all the right questions, getting photographers to open up and delve into the deeper issues behind the work.  And that’s what he did with me, pushing me to question my own beliefs and understanding of the issues. Everything is changing so fast these days, the more discussion the better it seems to me, and Ron helps focus the discussion around how to maintain creativity while surviving these times. Here is our talk: interview audio



INSPIRATION #4: Driftless
May 19, 2009, 1:26 pm
Filed under: Inspiration

MY BLOG HAS MOVED!!

Please change your RSS and bookmarks! Please vist my blog now at:

www.dougmenuez.com

Danny Wilcox Frazier’s new piece on the rural life in Iowa is breathtaking in it’s simple power. Working with Brian Storm, Bob Sacha and the team at MediaStorm, Danny has created something that not only gives us a profound understanding and new respect for the farmers who struggle to bring us our daily bread, but a perfect, elegant film that synthesizes moving images with still. This will be a lasting document of a place and time. Well worth a look.

MediaStorm: Driftless: Stories from Iowa by Danny Wilcox Frazier



INSPIRATION #3: FACING THE OTHER

MY BLOG HAS MOVED!!

Please change your RSS and bookmarks! Please vist my blog now at:

www.dougmenuez.com

©2009 Lyle Owerko/CLIC Gallery

©2009 Lyle Owerko/CLIC Gallery

I’m torn sometimes between my core desire to capture moments and to create photographs. I’m also prone to seek the bliss of isolation after periods of intense work. I have to force myself to get out and see what’s going on, but I rarely regret it. So when I am knocked off my feet by such beauty as I recently saw at Lyle Owerko’s show of his project on the Samburu people of Northern Kenya at the CLIC Gallery in Soho I am inspired and overcome with the desire to rush out and do portraits. Lyle goes deep with these lyrical, sensitive portraits and the stunning large prints are hypnotic.

Clic Bookstore & Gallery – New York, St. Barth – ABOUT

In a related vein, Elisabeth Sunday’s AFRICA VI: The Tuareg Portfolios, 2005–2009 presents dramatic figurative portraits of the nomadic Tuareg from the Sahara Desert in Northern Mali, which I also find haunting, lyrical, mystical; they push my inner Jungian dreamscape blast-off button. And I’ve not yet seen these up close, but will next week.

Gallery 291

Back in the US, I was pulled in by Richard Rinaldi’s new monograph “Fall River Boys” from Charles Lane Press, which yields the stark, honest reality of young men coming of age in a struggling New England town. The work rises up and bites when you least expect it to. Eloquent, and also haunting and sad, the images are not without glimmers of dignity and determination as seen on the faces Rinaldi reveals with care.

Charles Lane Press | Fall River Boys

Inspiration alone is a pretty great thing, no?

But it’s deeper than that. I’m responding also to the search for the other, as these artists all seem to me to be pursuing in their own ways. By the “other” I refer to the stranger we encounter in our travels, or even in our own street. Through our understanding of the other, we define ourselves.  The famous journalist Rsyard Kapucinski discusses this phenomenon extensively in his posthumous book “The Other,” Verso, 2008, and refers to the great French philosopher Emmanuel Levinas who said “…the self is only possible through the recognition of the other.”

Through my own portraits on my travels I’ve noticed a continuing theme in my work over the years that explores this idea. In all my work, since I was a kid, I’ve been obsessed with images that could be called portraits but are made as street shots where the subject has momentarily looked into my lens as I was grabbing the moment––probably they were lost in thought while waiting in a line or while working or whatever––but they looked up at me as I pressed the shutter. There is an unguarded quality as if I have known them all my life and they are trusting me. It’s a lovely fraction of a second when defenses between strangers are down. I have the nerve to look the stranger in the eye and they are completely open to me in turn.

I’ve written a bit about this and how I see this as a search for my own identity and place in the world, and that’s about the size of it. Not at all a conscious effort, just part of what I’m doing. Which may be why the above artist’s work is so exciting and inspiring to me.

And by creating a photograph, as opposed to capturing a portrait as a moment, I mean a situation, most likely a portrait where I’m in dialog with the subject. I’m choosing the background, location and position of the subject, or a still life, or some other conceptual approach such as some of the fashion or advertising work I’ve done that may be more illustrative.

These really seem two sides of the same coin because even moments captured in camera are later partly “created” in terms of how I render the print in the darkroom, digital or wet. There the print becomes an expression and subjective interpretation of how I saw the image. While digital manipulation in terms of switching out heads or changing skies and whatnot is not my thing, burning and dodging is definitely another form of manipulation, and is something very important to me. Since your eye goes to the lightest areas first I can control where your eye moves around the image to yield a heightened emotional response. Some of this may be planned in the exposure and depth of field of course, but in the final print comes the full expression of the idea. And that leads to a discussion about the magic of the print… to be continued…



INSPIRATION #2: KEENPRESS
March 28, 2009, 5:29 pm
Filed under: Inspiration | Tags: , ,

MY BLOG HAS MOVED!!

Please change your RSS and bookmarks! Please vist my blog now at:

www.dougmenuez.com

In my workshops I’ve tried to pound home the point that if you want to do good work, be happy, avoid burnout and stop beating your spouse and kids, you ought to think about longevity– how to achieve a creatively satisfying life for the long term. Once that is your goal, all your decisions line up to move you in the right direction.

Two photographers who epitomize this philosophy and never fail to astound and inspire me through their work and the lives they live are Sisse Brimberg and Cotton Coulson, founders of KEENPRESS. Married for 30 years, parents of two talented children, and now working not only as business partners but as creative collaboraters, sharing credit on their images they create, and exhibiting and selling prints from their base in Copenhagen.

Although Sisse is Danish, many of us were surprised when they sold their house in Mill Valley, California, one of the world’s sweet spots and moved to Europe. OK so Copenhagen is pretty sweet but you have to love winter to stay year round. Both have spent the majority of their long careers documenting the world for National Geographic. Cotton spent a hiatus as a picture editor at US NEWS (where I shot a cover for him) and in Silicon Valley at CNET as a VP developing content and then resumed shooting full time after they moved back to Europe.

Recently Cotton sent me their updated web site with some new work which knocked me out. Here’s the first image from their series “The Besmirched.”

the-besmirched2

Part of what I’ve always admired about these two is their incredible storytelling ability from their Nat Geo work. And now here we see a giant leap into abstraction, pure expression and a shift into new and challenging waters. It really is true that to grow as photographers we have to embrace risk and try new things and I can’t think of a better example of how this strategy can succeed. But this is not new for Cotton and Sisse, this is just the latest iteration.

What’s surprising is that they keep pushing themselves after all they have accomplished. Whenever I talk to them they exude the passion and hunger of 20-somethings. This is both inspiring and terrifying. Whether they are pursuing this strategy consciously or instinctively doesn’t matter. It has led them to careers of longevity and a level of creative satisfaction and professional success that is spectacular and instructive. You can see more of their lovely work at:

KEENPRESS Photography



INSPIRATION #1: PHOTO SECESSIONISTS
March 28, 2009, 2:19 pm
Filed under: Inspiration | Tags: , , , , ,

MY BLOG HAS MOVED!!

Please change your RSS and bookmarks! Please vist my blog now at:

www.dougmenuez.com

Where do you find inspiration? Sometimes you walk right into it. Yesterday I was arriving to give a talk at Eastman House on my recent book “Transcendent Spirit: The Orphans of Uganda” (published by Beaufort Books, NY and which is still for sale with all profits to the children: “Transcendent Spirit: The Orphans of Uganda”) and was delighted to see the exhibit “TruthBeauty: Pictorialism and the Photograph as Art 1845-1945” which features the work of the secessionists led by Alfred Stieglitz, Steichen, Alvin Langdon Coburn, F. Holland Day and other well known practitioners of pictorialism. Their goal was to elevate photography to be considered art equal to painting or sculpture and distinguish their efforts from mere craft or hobby.

While assisting in my teens in a studio in New York I was given a book of Steichen’s work and fell in love with the mystery and beauty of the work. This led me to discover the work of the others mentioned above. I spent a lot of time walking in woods in rain after that looking for images that could trigger the sweet melancholy, sadness tinged joy, and longing I felt when looking at the work of these artists.

Our creative lives go through phases of course. My very first impulse to create was triggered by seeing the work of Picasso, Matisse, Mary Cassatt, Manet, Cezanne, Degas and that gang. I wanted to be a painter. Then I was given a camera and a few years later the book “The Concerned Photographer” and it was like an explosion in my brain, my rocket ride took off. I began learning to be a documentary photographer. This was at 12. So the discovery of Steichen at 15 was a revelation. Thus began a kind of psychosis, a break in my mind between art as the pure expression of the artist and discovering the world and reporting the world as a documentarian. I was torn. When I was 17 I met W. Eugene Smith who was very concerned with his legacy and wanted very, very much to be considered an artist. At the talk I saw he read a letter from Ansel Adams to Smith assuring him that Adams did indeed consider Smith an artist of the highest rank. What I saw in Smith was the very real possibility of merging the two impulses, to create and also to report. Years later I felt this expressed very clearly in the work of Sebastião Salgado.

(I spoke to Smith afterward while he drank two coffee mugs of scotch and lectured me on craft as the foundation of art. He described spending five days in the darkroom making a single print and said that if I ever felt in my gut that some area of the print could be even slightly improved I had to start that print over.)

I was reminded of Dennis Stock’s comments about composition (see earlier blog “Clocks for Seeing”) when I saw this image below by Alvin Langdon Coburn, and of Gene Smith, who Dennis happened to assist in the 50’s, because it encompasses both worlds. It seems it must involve some documentary skills, some timing and luck as anything happening on water surely does, while also serving as an illustration of classical composition that Dennis and I were discussing. But clearly the driving force behind this group of artists was to find the beauty in the world.

Coburn_Wapping, 1904.jpg

After touring the exhibit I spoke about the amazing oprhans I had met who had transcended their difficult lives through education and dance to create new lives for themselves. It was a relief to find good news from Africa. In my years working as a photojournalist I had to cover some difficult stories. Over time the effect of seeing so much misery in the world caused me to question the value of what I was doing. At some point, the pictures of intimate moments of suffering began to feel exploitive and an invasion, despite my desire to bring awareness and hopefully change to the situation. This line of thinking led to many changes in my life and work.

A huge part of what we do is dependent on serendipity. We all have our own ways of being lucky and being in the right place at the right time. F8 and be there. This is not just about the pictures for me but part of how I look at life and the way I try to live. So getting to see this particular exhibit at that moment was one of those key moments of serendipity and encouragement from the universe. As part of my talk I was planning to explain how my efforts to move from covering the disasters and tragedies of the world to trying to find tangible stories of positive change, partly as a way to create meaning in my own life, had led to doing this book. Seeing the results of the secessionist quest to express the beauty they found around them was both inspiring and disturbing in that it reminded me of my early inspiration from these artists, and the lifelong creative schism between pure expression and documentation it triggered. Ouch.

This is mostly unresolved for me. My background as a photojournalist cautions me against trying to do anything but simply record and report the story. My early training in art school gives me license to express myself. My Uganda book and my prior book on Mexican culture and tequila, “Heaven, Earth, Tequila,” are explorations in what I’m describing as “subjective documentary” in that I am now interpreting the story as an artist would to express my personal take. Objectivity on it’s face is no longer interesting or useful for me. So my steps to resolve the schism naturally lead me in the direction Smith described, in a sense to make art from documentary source material. You are still telling a story, it just comes out in ways driven as much by the unconscious as the eye.

If you are going to be in Rochester soon definitely stop by Eastman House and take time to see this fantastic exhibit.

George Eastman House