Turning to the Concise Oxford English Dictionary, one finds the noun "morgue".  The first definition is "a mortuary."  That is probably what most people think of when they hear the word.  But the informal or second usage is "a newspaper's collection of miscellaneous information for use in future obituaries", and because of my father, this is what comes to mind when I hear the word "morgue".  For him, the morgue was a voluminous collection of torn newspaper clippings, and magazine articles and illustrations he might be able to use for future reference.  These bits and pieces overflowed like a tsunami from boxes and manilla folders, and for most of his life, he knew precisely where he had placed each printed piece of inspiration.  Being in advertising and also as an old school printer, using a cast iron, off-set printing press, he was, in essence, a frustrated artist and loved finding these jewels.  I have inherited his tendency, and have taken morgue into a verb form.

Morguing (not in the dictionary) is a professional hazard of being a photographer.  Just as our documentary filmmaker friend, Cristina, mentally assesses movies technically when she sees them, I look at books, magazines, newspapers, movies, and television, observing the sets, scenes, costumes, and lighting with an eye for the way in which the photographer or cinematographer worked.  Led by HBO and BBC, almost all television now has at least really good photographic work. If I cannot physically tear a page from a beautiful magazine like The New York Times, Western Art and Architecture, Sunset Magazine or Wine Spectator, I take mental notes of setups and light for future reference.  That being said, I would never go so far as to copy the work someone has done.  If I am looking at it with admiration, I would not even think about trying to duplicate it.  But all these things train the photographer's eye to observe.  With a clipping, one can look again and again, with more appreciation of what the original artist has done.

morgue

Included in this photograph is shot of Kiera Knightley and Jeff Koons in a Wizard of Oz-inspired fashion shoot by Annie Leibovitz (bottom center), a clip of a photographer using modern scaffolding, shooting down to capture camping equipment (middle right) from Sunset Magazine, an elaborate setup from Wine Spectator magazine (middle), above that on the right is a famous fashion shot of Louise Brooks taken in 1928 by Eugene Robert Richee, and above that a black and white image made in retro, early 20th century style, and the other a color food spread from another Wine Spectator magazine.

The real curiosity in the group is a menu (middle left) from the Aviation Terrace Restaurant operated by Hotel New Yorker in 1941.  I have always admired this commercial art piece after discovering it in my parents belongings after they died.  The cover illustration is a steel engraving done by Dr. Jos. Guttman titled Wings of the Night Over Land and Sea at La Guardia Airport.  It is a gorgeous, detailed menu cover from a time when the United States had righted itself after the Great Depression, and six months before America became involved in the war that became World War II.  You could get the Club Luncheon special of Broiled Ham with mashed potatoes and new peas for .75, Switzerland Swiss cheese for .30, or Little Neck Clams for .35.  The Hotel New York was also providing food for Pan American Airways, American Airlines, and Canadian Colonial Airways, as well as Eastern and United Air Lines.  What a time!

My mission, as a photographer, is to continue to observe both visually and physically, and continuing morguing to learn and to improve my skills and creativity when I get into the field - whether that is in a studio, on the street or in any landscape.  

until next Monday,

DB

a passion for the image@