THE PHOTOGRAPHER AND HIS WORK
Training and Career
David Moog, b. 1944, attended St. Lawrence University, the Rochester Institute of Technology and the University of Buf-falo.  Moog was introduced to Minor White following a St. Lawrence lecture and exhibit organized by fellow student Michael Hoffman (who would eventually publish Aperture, the magazine of photography created by Minor White during his Rochester years).  One chance meeting with Minor White was the impetus for a life-long dedication to image making.  Moog left St. Lawrence to study with White, Beaumont Newhall, and with Arnold Gassan.  Throughout the years work by the Group f64 and Edward Weston have also been important influences.

In the 1970’s Moog opened a studio in Buffalo and went on to build an industrial advertising agency which specialized in interactive multi-media and collateral print.  Moog’s career in commercial image making and graphic design continued until retirement in 2010.  David Moog has always kept his personal image making separate and distinct from his years spent in advertising photography and industrial film making.

Technical Notes
During a lecture class for RIT students, Beaumont Newhall recalled Brett Weston’s occasional good – natured references to 35mm cameras as “pea shooters”.  Needless to say, for the future Cartier- Bresson’s in the class, this comment was hard to swallow since the ribbing was attributed to one of those guys who lugged around an unnecessarily huge camera with leather bellows. As part of that class David Moog was already fascinated with the view camera.  To this day, he continues to work in large and medium format, composing carefully in the camera and printing images as given, adhering to the techniques of Zone System exposure control devised by Ansel Adams and advanced by Minor White.

Digital technology changed everything for everyone.  Moog moved from film and silver prints to digital tools and archival inkjet printing in 2001.  (Coincidentally, Arnold Gassan, a teacher and early influence, had been one of the first adopters, calling inkjet printers his “waterless darkroom”.) 
Moog continues to incorporate the essence and spirit of the Zone System in his digital work.  A digital back has now replaced film holders, and the view camera itself has been reduced in size from 4x5 to 2-1/4 x 3-1/4.  A Mac and Epson 4800 substitute for the darkroom, enlarger and Spotone retouching dyes.  In addition to larger cameras, Moog has recently begun seeing with a toy camera which he calls his “pocket view camera”.