1940-50's	1960's	1970's	1980's	1999's	2000's

1960 Before I met Ginger O’Grady I had a crush on Joyce Coleman. She, however, was mad about another guy.

1960 My problem was that I believed what the girls told me... I still believe them... duh. Anyway... Judy Blake had me totally smitten, too. Read my fraternity Brother Mike Friedman’s annotation in the Triangle yearbook (the next photo).

1960 What my friend and Phi Alpha Sigma fraternity brother, Mike Friedman, said about my romantic exploits: “Dougeepoo -- So Coleman was a flop. So you didn’t get anywhere with Blake. So Pam was a dud. Look at it this way -- your dog still loves you.”

1960 Throughout our time at Bayside High School, Allan Seiden remained a close friend, but some distance was growing between us as we both went our separate ways. In this sense it was quite literal as Allan had/has ants in his pants and was about to embark on the beginning of a lifetime voyage involving many lands.

1960 Virginia O'Grady, "Ginger," was the love of my life. Here we are in New York's Birdland jazz club at a New Year's eve show where we saw, I believe, The Count Basie Orchestra. My father was an Assistant Commissioner of Licenses for the New York City government, and so I had little trouble getting past doormen.

1960 Not only is this a picture of the love of my life, Ginger O'Grady, it is also one of my first lit-up shots and it was taken with my first Nikon… a model "F."

1960 Two of a series shot by David Nolte who was my partner in a high-school business called, of all things, Mesney-Nolte Photographers. These were for a little book of pictures that I made for Ginger O'Grady.

1960 One of our only family portraits, taken for our Christmas card. In those days I had a thriving business taking family portrait Christmas cards for the neighbors.

1960 David Nolte (left) was my partner in a high-school photo business called Mesney-Nolte Photographers. Here we are shooting a reception at Leonard's of Great Neck. Dave went on to marry Susan Raines and then I lost touch with him. I often wonder whether he pursued a career in photography, as I did, or went into the insurance business like his father wanted him to.

1960 Peter Mesney, my father, relaxes in the dining room of the family house in Douglaston. At the time he was the Assistant Commission of Licenses for New York City, a politically appointed job arranged by Mom's father, Judge Franklin Taylor, a powerful figure in the New York political scene.

1961 A milestone image… my first dye-transfer print, made at Peterson Color Lab, whose owner, Glen Peterson, became more than a mentor. His inspiration propelled me. The picture shows "Rocky" taking down the flag at the Douglaston dock. Fort Totten and the Throgs Neck Bridge are in the background, across Little Neck Bay.

1961 Bayside High School yearbook picture… what can I say.

1961 My penchant for special effects began early on as evidenced by this series shot for the Bayside High School yearbook, Triangle. Two other notable explosions in my career were the “Boss Denbeigh” illustration for Car & Driver, done in 1970, and the exploding kitchen in the multi-image show, “Swedish Meatballs” shot in 1980.

1961 Being the high school photographer gave me some much needed status and self-confidence. I was invited to join Phi Alpha Sigma fraternity and when our brother Frank Cermak ran for General Organization president at Bayside High School, I suddenly found myself in the thick of high school politics. These are some of the campaign tags I wore as a necklace. The pix of Frank were by yours truly.

1961 At Bayside High School, you weren’t “in” unless you belonged to a fraternity or sorority. I joined Phi Alpha Sigma fraternity and it had an important influence on my social life, making me “acceptable,” as it were. Before that, at Junior High School 67, I had been an overweight nerd. But after an embarrassing incident at the dancing school my Mom enrolled me in, I went on a crash diet and the pendulum swung the other direction.

1961 Being the official photographer for the Bayside High School yearbook gave me an automatic “in” with the girls... something I needed to overcome my shyness. I still find great comfort “hiding” behind the lens.

1961 On a rare occasion, stepping out from behind the lens, appearing in a high-school play and dubbed “Hot Lips Mesney” in the Bayside High School yearbook, Triangle.

1961 That’s me in front of the tuba horn. I was a trombonist and was following in the footsteps of Tommy Dorsey. But my trombone got stolen and my Grandfather gave me a camera, so instead of being a musician, I became a photographer.

1961 I was also in the Bayside High School orchestra. Music was supposed to be my avocation... my Mom taught piano and was a singer, after all. Now, there are times I wish that I had stayed in music instead of visual arts because music is essentially more collaborative and the life of an illustrator can be very lonely at times.

1961 In a foreshadowing of considerable magnitude, I became a member of the Visual Aids Squad... the geeks. Little did I know then that my career would focus on audiovisual communications.

1962 Ginger O'Grady, my first big love, at St. Lawrence University, Canton, New York, where I was a freshman. I took out a student loan to go there and then got to calculating how much I was gonna owe everyone after I graduated. So I transferred back to Queens College, part of City University of New York.

1962 After a year at St. Lawrence I woke up one morning realizing that I would graduate owing enormous amounts for student loans. Having grown up in a financially-challenged household I realized that the great American way of living beyond your means was not a good thing. So I transferred back to Queens College, CUNY, and did a 15-credit curriculum at night scull while looking for work. My buddy Dave Nolte was still around so we re-started our photo biz, Mesney-Nolte Photographers.

1963 After a stint in the CBS mailroom I found a “real” job with a little ad agency called J. Charles David, after the names of the two partners, Joel Charles Holiber and Seymour David Levy. They needed a jack-of-all-trades and I was the perfect guy. The assistant art-director work I did for Seymour Levy was the most enjoyable part and I became a friend of his family. I decided to make graphic arts part of my life.

1964 After years of emulating the shooting styles of Pete Turner and Yusef Karsh, and the printing skills of Arthur Tcholakian, on this day, shooting Carol Douglas at Fire Island, my own style finally emerged.

1964 Mostly because of my interest in Susie Friscia, I met her Mom, Louise Friscia, who had her own PR business. She hired me away from J.Charles David and I became her assistant. She joined J. DeBow and Partners to handle Sinclair Refining Company’s Dinoland exhibit at the 1964-65 New York World’s Fair. My job was to shoot visitors and send their photos with captions about their Dinoland visit, to their local newspaper... a brilliant program that generated thousands of “clips.”

1965 As the trends of the times were more and more psychedelic, I pursued all sorts of special effects and ways to alter color. Infrared color film became one favored way and by using a controlled set of specially made filters, I got predictable results that I marketed as "Atomicolor." Ok, ok… it was the 60's. Besides, Nikon got interested.

1965 My first big job, assistant Account Executive at Basford Incorporated, was to write case histories and make brochures about stuff like cargo containers, farm buildings, highway guard rails… you get the idea. At first, all the money went into my 1963 Corvette Stingray. But when I decided to become a photographer, I had to leave the car behind. I just couldn't deal with the politics and discrimination of office life.

1965 Dona Tracy and I met through Michael Plink, a fellow sports car buff back in our Douglaston neighborhood (his claim to fame was the family Avanti). Dona, whose maiden name was Lakin, married Michael and I was the photographer. Later, Dona wanted to learn darkroom… our relationship began under the red glow of safelights.

1965 Modeling for a Ted Russell shot… I was working at Basford as an account guy and I was returning a favor to Ted for all the mentoring and support he had given me. My agency work was more about copy-contact… find a story, research it and write it. My boss and teacher was Burt Holmes who became a major life influence.

1965 Grab-shot portrait by Leslie Shirk taken at Fort Totten.

1965 Some of the high points of my life at Basford Incorporated were projects involving agency producer Murray Fairbairne, and his favorite 16mm cameraman, Charles Haas. Both were "old school" purists trying to survive in a fast-changing world. Murray frowned on zoom lens shots calling them "imitation dolly shots" by guys too lazy to lay down tracks. From him (and Burt Holmes) I learned the value of simple, direct messages & images.

1965 Here I am with Leslie Shirk and our good friend Wiley Crockett at what might have been his birthday. The night they broadcast the shots of the men walking on the moon, we watched it all with Wiley, and his Mom. Men walking on the moon... who can forget that?

1965 Leslie and I were getting closer and closer, here spending Easter with her parents Ken and Ethel Shirk and her two sisters, Margaret Shirk and Janet Shirk.

1965 While I was working at the World’s Fair, I bought a “half-frame” 35mm camera that allowed two pictures on every 35mm frame, instead of one. Here are some pictures pairs of Leslie Shirk’s sisters, Margaret Shirk (upper) and Janet Shirk.

1965 Leslie Shirk and the Mesney-family hound, Rin Tin Tin (Rinny), at the Mesney’s house on Easter afternoon ... and clowning around after dinner.

1965 I’ve always hated having my own picture taken and for a long time would make funny faces to hide behind. On this particular evening Leslie was determined to get a nice picture of me and she finally succeeded (see next picture).

1965 Leslie finally gets her shot (didn’t hurt a bit).

1966 Feeding my habit at Alkit Camera's original store at Lexington and 51st street… even before they moved across to 866 Third Avenue. Ed Buchbinder really helped me on my way. Oh, I'm dressed that way because I was still working at the ad agency, Basford Incorporated.

1966 This is one of the first of my photos to be published in Car & Driver magazine. It was shot with a rare, 500mm Russian MTO mirror lens… with one of Leslie Shirk's stockings pulled over it to give the star effect.

1966 My first wife, Leslie Shirk… and my first motor drive Nikon camera. You can see she wanted to share in the fun… and she did. Leslie was totally supportive of my ambitions to become a photographer and even helped fund my early efforts. Leslie is Capricorn and was a systems analyst for MAI, a computer company (hello… this was the 60's). With my being an Aquarian on a mission, you can understand why Leslie and I grew apart.

1966 Leslie Diane Shirk became my wife at Zion Church on September 3, 1966.

1966 Hmmm… probably shot by Leslie, but could be by Peter Reynolds. He was a fellow student at Queens College. I was the photographer when he married Diane Ronaker and after that Leslie and I became their close friends.

1966 During the run-up to leaving Basford and opening my own photography studio, I did due diligence and started putting together a portfolio. The Corvette Stingray got traded in for a more utilitarian vehicle. Leslie Shirk was often my model.

1967 Leslie Shirk was a great companion, she was gung ho for just about anything. We were both Ayn Rand fans, albeit polar opposites from one another. We liked camping at Fire Island. It was there that we met Bill Hawkey and his wife Penny Hawkey... fellow Land Rover 109 owners. The first time we brought our 109 to Fire Island it got stuck in the sand and a VW Bus pulled us out. Hmmmmm.

1967 I was starting to get more serious about photography... even bought a copyright rubber stamp. Although I was still happy with my job as an account executive at Basford Incorporated, I liked shooting more (still do). So I started putting together a portfolio.

1967 Here I am on a Car & Driver magazine shoot… probably trying to figure out what to do. One of the reasons I got into "effects" was because almost every time Gene Butera would send me out on an assignment it was overcast & gloomy… I even got the nickname "Murky Mesney." The effects overcame any deficiencies in reality. They still do, and now even more illustratively.

1967 An early portfolio piece was this spread on model Adrienne LaRussa in Popular Photography's Woman Annual.

1968 We befriended fellow Land-Rover owners Penny & Bill Hawkey while camping at Fire Island. We all decided to vacation together in Rincon, Puerto Rico. Wife Leslie wasn't pleased when I invited model Angelique Monique to come along for some portfolio shooting. While I was busy shooting Angelique, Leslie was filling the time with a cycle-riding surfer stud named Wayne Hussing and went off with him to Barbados instead of coming home.

1968 Kurt Boehnstedt was my art director at Basford. We soon became close friends because we both lived in Flushing and were neighbors. Leslie and I spent many happy times in Southampton, Long Island, where Kurt and his family had a summerhouse. Kurt encouraged my photography and posed for some of my early portfolio shots, as did Kimberly Boehnstedt and Curtis Boehnstedt, his kids. Kurt used to say, "we get too soon old and too late smart."

1968 Despite my indiscretions and the widening chasm between us, Leslie was totally supportive of my plan to become a photographer. Although herself more left-brained (or is it right?) she genuinely liked my work and I, in turn, her encouragement. She modeled in many a shot for me during our years together… and even made the outfit for this picture herself. This was the "year of Atomicolor." Infrared dominated my work.

1968 Leslie sailing off Block Island with Wiley Crockett (lower left), John Blaha (center) and…? Anybody know this guy?

1968 Who can resist the urge to shoot oneself in the mirror?

1968 Justine Reynolds was good friends with Wilhelmina and her husband Bruce Cooper. Through them I had access to some of the Wilhelmina Agency's top models, including Naomi Simms, shown above. My ambition has always been to be a fashion shooter… but that goal still eludes me. Hmmm… I better hurry up.

1968 When I decided to leave the ad business and become a pro shooter the ‘63 Corvette became a Landrover. Here I am at the Pepperell International Motocross with first wife, Leslie Shirk, on the right side of the roof, together with Barbara Crocket and Tommy Gaffney (on the left).

1969 The first studio was called Mesney’s Mad Medicine Show and occupied the 5th floor of 42 East 23rd Street. Behind the back wall was Justine Model Consultants, Ltd. run by Justine Reynolds. (It was a truly symbiotic relationship.) This was the first space I could call my own... I was finally in my element.

1969 As the editor of Cycle magazine, Cook Neilsen had the prerogative of selecting the cover models, a job I suspect he liked well. He had hired Michaela Lawrence and booked me to shoot the July cover... but Michaela become ill and sent her sister, Andrea as a possible replacement. We booked her on the spot and that began an intensive half-year roller coaster relationship between Andrea and I. Andrea wanted to hang with the Beautiful People but had a hard time differentiating between the imposters and the real thing.

1969 Andrea Lawrence and I lived in the Flushing house, and Kissena Park became our own version of McArthur’s. She was... how does the song go... “…One of Seven vestal virgins, in from the Coast...” a LA girl set free in NYC. "Nature" (Flushing) was cool for about an hour, and then she was ready to party again in the Big Apple. It was her elusiveness and genuine naiveté that I fell for... an apparition you could capture on film but that’s all.

1969 I have always had a passion for flying... the closest I got to being a pilot was soloing in Sweden after a winter of lessons. Then I stopped... I figured the skies were safer without the likes of me flying around up there.

1969 This car was my life; I bought it with my own money and it effectively masked my social insecurity providing massive amounts of ego reinforcement. But I was quitting my agency job and going freelance... I needed money to buy cameras. Ray Grinstead, a guy Leslie was working with, bought the car. A little while later, while celebrating the opening of the first studio (42 East 23rd) Leslie announced that she was leaving me to go live with Ray, As for the car. Ray, if you can help me find it, please call.

1969 Cycle Magazine sold Motorcycle Industry Council a public-service ad campaign. The magazine assigned Tom Rydinger to be Art Director and Art Guerero to be writer. I was selected as the photographer. The three of us collaborated to produce this campaign which was honored with an award by Communications Arts Magazine (CA). In total there are six ads.

1969 This is the first of the ecologically oriented, six-ad, public service campaign, "Earth Ride," sponsored by Motorcycle Industry Council.

1969 This is the second of the ecologically oriented, six-ad, public service campaign, "Earth Ride," sponsored by Motorcycle Industry Council.

1969 This is the third of the ecologically oriented, six-ad, public service campaign, "Earth Ride," sponsored by Motorcycle Industry Council.

1969 This is the fourth of the ecologically oriented, six-ad, public service campaign, "Earth Ride," sponsored by Motorcycle Industry Council.

1969 This is the fifth of the ecologically oriented, six-ad, public service campaign, "Earth Ride," sponsored by Motorcycle Industry Council.

1969 This is the sixth of the ecologically oriented, six-ad, public service campaign, "Earth Ride," sponsored by Motorcycle Industry Council.

1969 Ed Just started off as Justine’s personal assistant... that’s how I got to know him. Ed wanted to be a model-actor and he had an ambition seldom seen but absolutely essential for survival in the New York jungle. Then he discovered there was steadier money in butlering and that he was damn good at it. By now, Ed must be in the Butlers Hall of Fame as he was headed that direction.

1969 At the 23rd Street studio I originally shared space with Justine Model Consultants and most of the work was fashion & beauty.

1969 At 23rd Street, I shared the 5th floor with Justine Model Consultants. This is part of a brochure that I put together for Justine when Vidal Sassoon brought her on board at 803 Madison Avenue. Having someone like Justine as an ally helped open the door to the world of fashion and beauty.

1969 Work on the New York Boat Show and editorial spreads were building my reputation as a boating photographer. One result was a commission to make sets of "Art" shots for a special Kenyon Marine Christmas-gift promotion.

1969 First of four "art" shots selected for Kenyon Marine's special Christmas-gift promotion.

1969 Second of four "art" shots selected for Kenyon Marine's special Christmas-gift promotion.

1969 Third of four "art" shots selected for Kenyon Marine's special Christmas-gift promotion.

1969 Fourth of four "art" shots selected for Kenyon Marine's special Christmas-gift promotion.

1969 Three images from a series on model Patty Martin and her friend Vera. Stopping the Kodak sepia toning process halfway through, after the bleach, made the light-brown "blonde" look.

1969 Andrea Lawrence snapped this one of me after one of our sessions shooting her. The Y-Ching coins around my neck were a gift from a very special friend, Caroline Hadley who was then at Car & Driver.

1969 What started as a simple nude session with Andrea Sutter evolved into a new logo for my studio, and a poster commemorating it's new digs. The poster was “reversible” with the black on one side and white on the other. It won a graphic design award from the New York Art Director’s Club. Always the clever business boy, I reasoned that using a black nude for a logo would keep us off the "wrong" preferred supplier lists. Instead it seemed to actually attract corporate business... well, more than a Mad Medicine Show.

1969 A true career highlight: a moment with legendary racecar driver Stirling Moss... at his home.

1969 When I left the agency I first sublet office space from Bob Gurvitz, a commercials and industrial-film producer. So, when St. Regis Paper company wanted to make a 60-second television public service announcement (PSA), I had the back up to pull it off. Dave Tonsing and I went to Mt. Washington and shot the forest. The stills were animated in a process called Photomation. Bill “Rosco” Mercer, a late-night DJ on WBLS, was famous for his readings of Kalil Gibran; so I wrote a piece in that style and Rosco read it for the PSA.

1969 Tom Allen appeared from nowhere one day and became a regular fixture at the studio, helping out where he could. Here he is dressed up as Fagin. (Actually, the part fit his waif-life air quite well.) Then, suddenly, Tom was gone... I have no idea where, to this day.

1969 Here's what the transition from advertising executive to pro shooter looked like... hanging with the client between shots.

1969 After I left Basford, the agency became a source for clients. Kurt Boehnstedt was now free to hire me “officially.” One of the first such jobs was shooting an auto-design exercise put together by the American Zinc Insitute called the Zn-75.