Author Archives: Doug Menuez


New port cover_500xI’m very happy to share my latest portfolio update: a mix of new commercial and personal work merged with some of my favorite projects here:  Many thanks to my agents at Stockland Martel for patiently working on this with me. I’ve been so lucky in my career to be able to collaborate on global brand campaigns for A list clients. That work is fun and satisfying because I’m being hired for my eye but also because it funds my personal documentary projects on subjects I care about. (see

The process of creating a portfolio is sometimes gut-wrenching. You end up doing a lot of deep thinking about everything you are doing and why, and probably that’s a good thing. I was reminded recently by a former student of an essay I wrote in 2009 about creating your “fuck you” portfolio; a liberating process to find your true voice by letting go of fear. This is about making a portfolio that shows what you truly, deeply, passionately love to shoot. And want to get paid for. The essay still rings true to me, despite all that has changed for photographers since:


I’ll be teaching what I’ve learned about merging art and commerce later this year at Center for Photography Woodstock (Sep 24/25). The idea is that if you are trying to make your living solely from your photography you can’t just follow the herd and present what is selling at the moment. Although that will get you started, perhaps, it won’t last as tastes change and ends up crushing your soul. You have to do the hard work to figure out what you see that no one else does.

Once you have refined your eye, you have to build a solid financial foundation and business structure to support your vision, like all entrepreneurs who chase a counterintuitive idea. Imagine a lifetime of satisfying, creative challenges. It can happen but it’s extremely hard, no different from a tech start-up in many ways.

The problem is that if you follow my advice you are more likely to fail. But if you don’t you won’t ever hit it out of the park and live the dream. You just can’t be for everybody, only the best creatives who get what you bring.

I’ve failed hard a few times and find that the path can be a more of a cycle that we end up repeating now and again. I’m still on the journey, learning new things as I face new challenges. But I know from experience that the reward for risking everything and pushing myself to grow is indescribably sweet and worth all the pain.


March 2016

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My recent book “Fearless Genius” shows the brilliant innovators of the digital revolution in the 1980’s and 1990’s inventing the technology that created the world we live in today. That got me thinking about the future of technology development and what’s coming next which led to an incredible assignment from Vanity Fair, written by the brilliant Kurt Andersen here:  It was an amazing opportunity to shoot documentary portraits of leading proponents and skeptics of the singularity, who are having a crucial ethical debate about the benefits and dangers of artificial intelligence.
The stakes are high and could affect human evolution or halt it completely. In the galleries above and below  you can see Ray Kurzweil, now director of engineering at Google, who believes computers will gain consciousness by 2029 when a kind of singularity will occur and humans will transcend biology. With Peter Diamandis, creator of the X Prize, and others, they started Singularity University which I photographed as well, where innovators and entrepreneurs gather to learn about the latest and coming technologies. I also shot leading skeptics Jaron Lanier, virtual reality pioneer and now at Microsoft Research, Mitch Kapor, a PC software titan who leads several foundations working for social change.
Followers of the singuarlity believe a new wave of technology is coming fast that will bring major breakthroughs in health and longevity, among other benefits to mankind as we head toward the ultimate AI solution. Some proponents have suggested that when the singularity happens we’ll be able to achieve immortality by uploading our brains into a hive mind and leaving our bodies behind. Really cool, or utterly terrifying?


November 2014

Something to SAY

Legendary creative director John Doyle recently asked me to make portraits of kids who are working to overcome severe stuttering problems with the help of a nonprofit organization called Our Time, which John is rebranding as SAY: The Stuttering Association for the Young. I have an old friend who built a career as a top photojournalist despite a severe stuttering problem. From him I learned a lot about the challenges people who suffer from this disability go through and was so impressed by how he overcame his problem to succeed. Shooting kids is always a tough job. Even as a parent and someone who has always shot kids, I know from experience you can’t push things or try to control things too much. You have to be patient and open to the kid’s frame of mind, and try to connect. Essentially, you are a passenger on their train.

John said he needed a lot of portraits, all in one day to save money as the project was pro bono. In this case, we were talking about young kids but also teens. Which raises a whole host of other issues around self-esteem, identity, and general discomfort with self-image that are just part of the package of growing up. Add in a disability like stuttering, and I knew it might be tough to deliver the portraits I envisioned.

I wanted to connect emotionally with the kids and try to show their sense of pride and accomplishment for what they were overcoming. It was an exciting opportunity. John and I talked at first about photographing to seven or eight kids, then maybe 12 or more. I thought on the outside we could get to 15.

Then he asked if I could shoot 20 kids—in one day. Hey, I’m game for anything. But to connect with these kids and shoot a range of images in the time allotted with a limited crew and budget (the crew was paid) was a daunting thought, to put it mildly.

Then came the shoot day––big surprise: The kids came in and rocked the house. They burst into dance, they sang, they talked and talked. We had a blast! It was such a gift to meet them and be part of their world. And we got the 20 kids done, barely, as the natural window light faded and our studio time ran out. It seems the Our Time/Say program is working wonders with these bright kids. And I just got a lovely note from John thanking us and saying how happy everyone was with the pictures. It’s a project I’m extremely proud to have been part of.

March 2014

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Copyright hopes & Representative Nadler

     I was delighted to part of a panel meeting recently with Rep. Jerrold Nadler at Columbia Law School in New York City to discuss the future of copyright. Representative Nadler was interested in hearing the views of a range of artists and publishing veterans from his district as he considers a transition to a leadership role in the Judiciary Committee’s Subcommittee on Courts, IP and the Internet.
Above photos ©Doug Menuez. Left: Chris Barron of Spin Doctors opens the copyright meeting with a solo performance. Next photo: Sandra Aistars, Copyright Alliance, Rep. Jerrold Nadler, right, with the NY Times Ken Richieri and legendary TV director Vince Misiano (backs to camera) continue the discussion after the meeting. 
     Put together by Washington, D.C. based Copyright Alliance, and led by Sandra Aistars and and Pippa Loengard (Columbia Law School), with participation by Ken Richieri (EVP and GC, New York Times Co.), Ed Klaris (SVP, head of IP Conde Nast), me, talking about my documentary and commercial work, which funds my non-profit work, Robert Stolarik (freelance photojournalist for New York Times), Vince Misiano (director of episodic TV, including West Wing, and National VP of the Directors Guild), Russ Hollander (DGA Associate National Executive Director).  Sandra described the informal meeting with Rep. Nadler as covering constitutional issues related to copyright and how copyright supports creators and journalists in their work – creating and disseminating various types of works, supporting jobs, allowing artists to pursue charitable work by licensing their works, etc. Also joining the discussion was ASMP Executive Director Eugene Mopsik and General Counsel for the National Press Photographers Association (NPPA) Mickey Osterreicher.
     Singer/songwriter Chris Barron of Spin Doctors performed solo with acoustic guitar to open the meeting and told his classic starving artist to rock star tale and made an appeal to Rep. Nadler to help preserve the opportunities for future songwriters. I couldn’t help but quote the lead singer of the band Cracker, David Lowery, from his appearance on Kurt Andersen’s Studio 360, whose hit “Low” was played on Pandora 1 million times and earned them a total of $16.85. Hmmm…
     I believe compromises will need to be made as the law is clearly outdated, but copyright remains a vital tool for artists and content creators to earn a living. Rep. Nadler was funny, sharp and sympathetic and pointed out that enforcement is sorely lacking, without which any law is meaningless. He implied sacrifices would have to be made by both sides and described a hypothetical outcome with photographers being thrown under the bus to make the point of how extreme the debate might get. Despite this scary moment, I felt terrific about his approach and think he will bring fresh eyes and an open mind, which is all we can ask.
     I’m hoping we can educate the next generation that they too can feed their families, put kids through college, buy a house, all through the power of the copyright of their works. It’s pretty amazing and most young people I meet have no idea or completely ceded their rights away to some misguided digital pipe-dream. These rights are written into the US Constitution and functioned pretty well for 200+ years, let’s keep it going.
July 2013

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The strange subterranean world around us has opened to release the Cicada after 17 years and our yard is abuzz. My wife Tereza adores these creatures that terrify me.

To me they are red-eyed monsters. She gathers them up and lets them climb her arms, gets them out of the driveway to safety while telling me stories about playing with them as a child in Brazil. YIKES! But I have to admit, they are definitely cool looking. Scary but cool.

May 2013

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The Cause of the Global Financial Meltdown?

©2013 Doug Menuez
Apparently a new trend among tourists visiting the mighty Wall St. bull sculpture has been added to the previous fad to rub the bull’s balls. Now they do a head thrust. Go figure! This image is from a previous post about my recent shoot for Nikon’s new Coolpix A camera: SANDY, MEET NIKON; NIKON, MEET SANDY | DOUG MENUEZ 2.0: GO FAST, DON’T CRASH
March 2013

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My wife and I awoke in our apartment the Monday morning after Hurricane Sandy hit to find we had no power and, worse, no plumbing and, even worse, no Internet. As for cell service, it was ridiculously spotty. We were 16 floors up, our apartment surrounded by water, with a production meeting scheduled with my clients from Nikon’s Tokyo ad agency K&L, who had arrived from Japan just before the storm. We were supposed to shoot a worldwide marketing and ad campaign for a top-secret new camera, the COOLPIX A. And Nikon was also planning to shoot a video of me working with this new camera, directed by the distinguished director Naoki Fukada. I hadn’t seen the camera, let alone learned how it worked or used it. Let’s just say I was very nervous.

Our clients—who were on the 16th floor of the Standard Hotel—also awoke to find they had no power, toilets that didn’t work, and no means to communicate. My studio building on West 26th Street, which houses my servers, computers, and gear, was flooded, along with the whole neighborhood. The basement and first floor remained underwater, with crews pumping water like mad into the street. I called 300 hotels to try to find a place to stay, with no luck. Finally, after a frantic few hours, I managed to secure a friend’s empty apartment uptown where my wife and I could evacuate. I got our stuff up there and myself back down to my studio to secure our servers and get ready for the production meeting.

We met in my freezing, dark studio to plan the shoot, which started on Wednesday and ran through Friday. Mr. Miyama, the veteran producer, and his associate Naoya Watanabe were already hard at work booking talent who’d been cast the Friday before. We had about 20 talent to locate in the middle of a disaster, all around the boroughs. Real people plus the model agencies had to be contacted and logistics arranged for talent and crew. Everyone on our crew and most of the talent were without power or transportation. How would the talent even get into Manhattan? The bridges and tunnels were closed, and subways and trains were all down. It was hard to see how we could manage all this. I was more than worried at this point.

The meeting started. I asked Gen Umei, my longtime friend and client from K&L, if he thought we should reschedule the shoot. “No! Absolutely not! We must proceed!” Then he smiled and we both laughed, because over the last 10 years we had shared some amazing but extremely difficult shoots for Nikon around the world. This would be no different.

The producers and agency folks were also talking about our predicament when suddenly everyone got quiet. Gen was opening a black bag and pulling out three prototypes of the new Nikon COOLPIX A. He instructed us to never say its name, as it was so top secret. We all signed nondisclosures and agreed to no Facebook or Twitter postings. We decided to call it our “friend” for the rest of the shoot. I would be the first in the world to use it, and I was beyond excited.

The COOLPIX A looks like a gorgeous, small black rangefinder, but actually is the world’s smallest compact DSLR with a DX CMOS sensor. When I held it, I was surprised to feel that it was made of metal, not plastic. And it came with a fixed 18mm 2.8 lens (equivalent to 28mm), which was a fine idea, the 28 being a classic lens for street shooting. I was in love. I’d been hoping Nikon would make something like this for years. My favorite thing to do is walk the streets and document what I see, and I’d always wanted a very lightweight, unobtrusive camera that could also deliver high-quality files. Well, here it was. I read the specs: 16.2 mp files, 4 frames per second, and full 1080 p HD video with stereo sound. And I could shoot manual. Clearly, this was designed to be more than an advanced amateur point-and-shoot; it would also meet the needs of pros. There was more to learn, but I wanted to go shoot with this thing, storm be damned.

We produced shoots with some very interesting talent and situations, and it was pretty wild getting around the city, to Brooklyn and back, with our driver sitting on a gas line for three hours every night. Mr. Miyama and his team managed to get almost all the talent to all the shoots, although almost all our locations were closed due to flooding. Most of our shoot was to take place on the High Line, for example, and months of meticulous location scouting and planning had been invested, but the High Line was closed down. We scrambled for replacement locations.

In between the produced shoots, they let me roam freely around the streets so I could grab real moments. Although they were paying me to test the camera and appear in a promotional video, I have never promoted something that did not truly work for me. The COOLPIX A was a dream to shoot with. Fast, quiet, small, and nonthreatening. Fun. And after I got the files downloaded, I confirmed they were beautiful. Outstanding results for such a small package, the lens bokeh was lovely, and it was superb at low noise in low light, as expected with anything Nikon.

By Friday, we had a great range of stuff from all around downtown, from West Chelsea to the Lower East Side to DUMBO. But we were all completely exhausted. (It also felt surreal not to be covering the disaster itself.) I had been driving pre-dawn every day from the Upper West Side—I still didn’t have power at my apartment—down to our shoot. I was really missing my home, clean clothes, and the other things we take for granted. But as I learned the extent of the damage that the horrific storm caused in the other boroughs, I realized how incredibly blessed I was compared to those who lost everything.

I said goodbye to Gen and my clients that night and started to drive uptown to my wife, Tereza. As I reached the corner of 26th Street and 10th Avenue, there was a surge of light all around as the power was switched on after five days of complete darkness in lower Manhattan. Tenth Avenue had been under water, but now lights were glowing all the way down the avenue. What an incredible sight. We got our shoot done despite Sandy, and I was going to go home after all.

March 2013


It took a billion hits on “Gangnam Style” before I finally got around to checking out the video. So I’m watching this crazy guy and catch some quick cuts of Seoul and wondering what the hell Gangnam Style means and something tugs a memory. This area where we were shooting in Seoul a few years back really struck me then as unusually hyper-stylish, expensive and fashionable. It was like Roppongi Hills meets Beverly Hills on crack. I was jet-lagged and flew in for two quick days shoot at Chaum, a futuristic longevity medical center. So I looked on google and yup, we shot in the Gangnam District it turns out. It’s real, forms a neighborhood on the South side of the river in Seoul, and the basis for the style driving Psy’s video. (

For those as easily amused by coincidence as I am, here’s a quick look at the actual Gangnam of everyday in the streets around the Hyatt and at Chaum in 2 galleries below.

©Photographs by Doug Menuez/Stockland Martel

January 2013

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On shooting President Bush for the second time for the cover of Parade Magazine.

There are celebrity shoots, and then there are celebrity shoots. Most involve tense publicists and tense famous people not thrilled to be photographed, as well as very tense crews full of stylists, assistants, etc., not to mention the very tense photographer upon whose shoulders the final result will rest. When the celebrity in question is the former President of the United States, George Herbert Walker Bush, and his wife, Barbara Bush, for the cover of Parade magazine with a circulation of approximately, oh, 1 billion or so, one might expect a double dose of all of the above.

But with Bush 41, it was nothing but relaxing ocean breezes, Kennebunkport casual hospitality, and zero tense anything. The Bushes are very much a down-to-earth semi-retired power couple—what you see is literally what you get. (read more below)

This is not to say I wasn’t terrified anyway and working at a fever pitch despite the calm setting. And I had been warned by the incredibly kind Bush family publicist, Jean Becker, that President Bush would be in a wheelchair and had great difficulty walking. And I had only one assistant—just like on a news assignment—and no stylists, and we did have a very tight time frame to work within given the state of President Bush’s health, which is stable but certainly declining with his advancing age and a form of Parkinson’s that limits his ability to walk.

Everyone at Parade—photo director Miriam White-Lorentzen, editor-in-chief Maggie Murphy, creative director Richard Baker, and writer, reporter and LBJ Library Director Mark K. Updegrove—was extremely supportive and counting on me to not only nail a candid portrait for the cover but also somehow make something happen that might yield inside images, as well. I expected I would have 10 minutes. In the end, I had that and maybe 5 minutes more after the interview.

I shot what I could during the interview over Mark’s shoulder, and when my time came I got the cover shot quickly, with the Bushes on the couch where they had been sitting. Listening to them talk, I was taken back to a different political era, when despite the passions of the left and right, laws were passed, compromises were made. A lifelong Democrat, I leave my politics at the door when I’m shooting journalism. But I love history and the people who make it, so I bring an open mind and a level of respect even to those I might disagree with.

Knowing that movement would be a huge challenge, Jean encouraged me to simply ask President Bush for whatever I needed. And from my past cover shoot with him, I knew that he loved getting outdoors and to the sea in particular. I thought somehow getting him over to the window would make sense and would give me some opportunity to make a more lasting image of an American President toward the end of his life. I decided to take the risk and made my pitch.

While I was suggesting that he and Barbara come over to the French doors overlooking the sea, I quickly moved a wingback chair and lamp. I came close to the President and looked him in the eye and said I’d like to shoot him looking out at the sea that he loves so much. “Getting all arts and crafty, aren’t you, Doug?” said the President. “Exactly,” I admitted. “But I think it’s worth a try.” “Great. Let’s do it,” he said and began to rise.

Immediately, it was obvious he couldn’t really walk at all. He made a half step and held position while Barbara had one elbow and I grabbed the other. At one point, I let Jean and others help him move while I moved the chair to the best angle for him to slide in. It was excruciating to watch this man struggle step by step. At one point, someone loudly said, “Mr. President, you don’t have to do this!” He smiled, turned, and forcefully said, “I’m gonna make it!” and “We’re gonna do this picture!”

He was determined and slowly but surely made it into the chair, which I rotated back to the sea. There, I made a quick shot of him looking out the windows and then jumped outside and closed the door behind me. My quick-thinking assistant, Josh Dick, who specializes in mind-reading photographers, was ready to help as he realized the reflections would be cool on the glass but would also obscure their faces due to the lighting conditions. He held up his jacket to flag their faces, and I gestured for them to come close together.

I made a couple of portraits that worked, both of them fairly radiant and looking in tremendous health despite all their earlier talk about being old and their imminent demise. I called a wrap. Then in an instant, Barbara leaned over and kissed the President on the head. I barely fired one shot. This is my favorite image from the shoot and the picture I will take away as an authentic reflection of their relationship but also kind of interesting as it was shot through the glass. It’s intimate and real, and I’m proud of it. A bit of directing on my part, but even with something conceptual there happen to be real moments that are gifts, and I was lucky enough to press the shutter just in time. Within the context of a celebrity shoot where there is a lot of pressure, I think these little moments are the greatest gifts. This is what I always strive to bring back—something more than expected.

I did push beyond what I might normally do given his high station and health, but nothing great ever happens without risk. I  also sensed in him a desire to make it happen and the grit to get to that window.

July 2012

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