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Artistic Visions of Monte Nagler
By Edward Sarkis Balian
Taken from Shutterbug Magazine
For the past few years,
Monte Nagler and I have crossed paths many times, with an almost mysterious
patten. We are both career-oriented teachers, have exhibited in many of
the same galleries, and even got our start in photography in amazingly
similar ways. After a while, it got down right humorous-we kept seeing
each other's name and work, no matter where we seemed to be!
At long last, we finally caught up with each other when Monte appeared
on the popular Detroit-area morning radio talk show, The Mark Scott Program.
We arranged a meeting and now, I would like to share his work and his
insights with you. Monte's work has gained acceptance and acclaim throughout
the national gallery circuit. As a student of Ansel Adams, Monte combines
excellent technique with exemplary artistic vision.
The following interview was completed during one of Monte's many public
exhibits. We conversed at a leisurely pace with art patrons interjecting
their compliments to him during our conversation. Most telling of the
man, Mr. Nagler spontaneously agreed to charitable donation of his work
to a local organization even during the time we were conducting the interview!
Shutterbug: Monte, let's get right to the heart of the matter. What does
it take to be a fine art photographer on a full time basis? Monte Nagler:
It takes guts. It takes hard work, drive, patience, investment in yourself,
a belief in yourself, and strong marketing. Ed (Balian), you know that,
too. Other than that, it's easy (laughs).
SB: "Guts" is a term we hear a lot in the artistic world, but give me
a practical example of what you mean. MN: Okay, try this: I worked for
Ford Motor Company all through my twenties. I needed money and security
just like any other person. I had the usual bills, a mortgage, and all
the rest. After I left Ford, I was in the automotive after-market business
for 13 years. And, finally, at age 42, I turned my photo hobby into a
full-time business.
It was a big jump from a life of steady cash flow to fine art photography.
That took guts. That's one definition anyway. Now, I feel that I have
the best job in the world.
SB: Tell us a little about your first experiences behind the camera.
MN: In the beginning of course, I didn't know a shutter speed from an
f/stop. In 1970, I ventured to Hawaii with nothing less than a Kodak Instamatic,
complete with flash cubes! I had the greatest time composing and shooting
all the wonderful scenery. After processing from the corner drugstore,
I found that, due to a defect in the camera, all the exposures failed!
SB: Sounds disappointing to say the least. How did that experience lead
you into photography instead of out of it?
MN: I just so enjoyed the act of taking pictures. The compositions, and
trying to convey something to other people.
SB: In 1979, you studied under the renown Ansel Adams-tell us about him.
MN: Well, first off, he was a great photographer, of course, but with
a terrific sense of humor. It was wonderful to just watch him look at
things, both figuratively and literally.
I remember most vividly when he came to Detroit on a book signing tour;
his publisher had me pick him up at the airport. We drove downtown together
to the Ren Cen office complex. He walked into a very large bookstore,
found one of his own books, pulled it out, opened it and signed it. Then,
quietly placed it back on to the shelf. This incident, to me, told a lot
about the man, his humor, and his outlook on life. Later that same day,
Ansel turned to me and said with deepest sincerity, "I don't know why
everybody makes such a fuss over me."
A few years later, on the occasion of his death, I dedicated my newspaper
column to him. But instead of writing about what a great photographer
he was, I wrote about his "human side." He was so witty and humble.
SB: Those are wonderful memories you have of Mr. Adams. Sounds like we
could have learned something from him-we could talk about your relationship
with him for hours, I'm sure. But, let's shift gears-I know most Shutterbug
readers are interested in equipment and supplies. Tell us about your camera
gear.
MN: I shoot in three formats. Primarily, I use a Linhoff Technikarden
4x5 with a wide array of Nikkor and Schneider lenses. I mostly use focal
lengths of 90mm, 105mm, 135mm, 210mm and 300mm.
In medium format, I love my Pentax 6x7 with lenses of 45mm, 75mm, 90mm
and 165mm. I also enjoy my Fujica 6x17 Panorama Camera.
SB: What about film and your darkroom techniques?
MN: I shoot Kodak and Ilford films; T-Max and FP4 mostly. I use Zone VI
chemicals, selenium toner, and Ilford paper. I think it's important to
have standard processes and to stay consistent. I'm not the type that's
changing technique and experimenting continuously.
SB: You are also known for your fine art teaching and your exquisite print
collection from the world's masters.
MN: I've been collecting fine art photographs for many years. Many of
them I picked up a good number of years ago, before the big price escalations.
I have work by Adams, Stieglitz, Weston, Evans, Lange and others going
back into the 19th century.
What's interesting to me is that many photographers don't collect photographs!
The thing is, you can learn from other photographers. Owning this art,
and living with it, makes me a better photographer, I'm sure of it. Looking
at photographs all day keeps the creative juices flowing.
SB: And your teaching?
MN: As far as teaching goes, I love it! I have an excellent rapport with
my students; in fact, I think they are responsible for my success. I stay
personal friends with many of them.
SB: As a fine art photographer, teacher and author, what advice can you
give to Shutterbug readers who may be aspiring within the fine art field?
MN: First, what I mentioned earlier: create a procedural standard for
yourself then stay consistent. Don't get trapped by endless experimentation;
don't let the technical side distract you from your art.
Second, stay true to yourself, an old clichŽ, I know. But, nonetheless,
so very important today.
SB: I love the title of your most recent fine art book, Statements of
Light. How did you come about that title?
MN: Would you believe Burger King? There I was sitting at a Burger King
when the title just hit me. Not a too romantic story, but the truth. Doing
this book was something similar to giving birth I'm sure, but without
the pain! It was always a goal of mine to do a "coffee table" fine art
book product.
SB: So, are you personally happy with the look of the "new baby?"
MN: I'm extremely pleased with it. My publisher spared no expense. Laser
scanning and duotones were used for the print reproductions; even the
dust jacket is beautifully done.
SB: I have to agree with you; this book is a delight for the eyes! Also,
as a fellow professional photographer, I was quite surprised and impressed
with the technical tables you included in the book's appendix.
MN: Importantly, I made it a point to include very detailed technical
information about each exposure; unfortunately, as you have indicated,
this is rare among nearly all other fine art books. I included the technical
information as a teaching aid; in the hopes of perhaps helping other photographers
better learn their trade and individual style.
SB: What's next for you?
MN: More travel, more teaching, and more photography. I'm in the planning
stages for conducting more workshops in the United States and elsewhere.
SB: All successful people seem to have an underlying philosophy-what's
your secret? What keeps you going?
MN: Giving back to photography, either through my teaching or by way of
charitable contributions to the arts. I want to stay involved.
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