Charring a whiskey cask for The Macallan
His signature photo from the cover of National Geographic, ‘Afghan Girl,’ is one of the most recognized images of the 20th Century, and photographer Steve McCurry has been capturing stunning photos from across the globe for over 30 years. When The Macallan wanted to celebrate the release of their new Double Cask 15 and 18 Years Old Whiskies — made from the blending of American and European oak sherry-seasoned casks — they called on McCurry, who then traveled to the forests of Spain and America to capture the craftsmanship of the cask-making process. I spoke with McCurry by phone, to discuss what he leaned about whisky-making, how the art of cask-making compares to photography and the one special thing he keeps in his fridge.
Working with The Macallan, what part of whisky-making did you appreciate the most?
Making the casks was the most fascinating and visually interesting. In Spain, I photographed 4 or 5 different locations where they were making casks, and then a couple in Ohio and Pennsylvania. Some of the places are highly automated, but there was one in Spain where the craftsmanship and methods seemed like we were stepping back in time. It was very dramatic, the staves over the fires, the faces of the people who worked there. That was amazing to watch the whole process — from the oak trees, to how they shaped the wood into the components and then how they put the cask together.
Do you see any similarities between photography and whisky-making?
To blend whiskies, you have to have certain experience, but also the natural nose and palate to bring these things together in the right balance. In photography, you’re also trying to get a number of components together, the composition, the lighting, and to find the right balance there is also a kind of a talent you have or you don’t.
Also, with crafting the cask, in the traditional method, you’re putting it over a fire, and you have to have the experience and the feel for getting the timing right, so it’s not too much or too little. Like in photography, you get that one shot, and if the timing isn’t right it renders the whole thing useless.
Do you have a favorite expression of The Macallan?
When they were building the new distillery, I photographed it from when it was a hole in the ground until it was finished. A few times I stayed at the estate, so we’d have wonderful dinners and a glass of The Macallan. There was a 30-year-old, which was incredible. To work all day and then enjoy that at the end was great.
Some people may not know you by name, but everyone knows your famous ‘Afghan Girl’ photograph from National Geographic. Do you dislike being known for one photo, when you have such a distinguished and varied body of work?
You have no control over that, you can’t even think of that. You see the glass half full, and the fact that your work is recognized is a good thing. I’ve done a number of books, my work is out there and appreciated, just maybe not engrained like that one photo. The number of pictures like that, that exist in photography, are few. Dorothy Lange was brilliant, but could most people name another photo of hers other than the Migrant Mother? That doesn’t diminish the body of her work. It’s true, that’ll be the first line of my obituary — “he made that picture, travelled a lot, and is survived by…” — and then they’ll have to think of something else to say. I’ve always had a passion for photography and traveling, and that’s reward enough, if you love what you do. I’ve had a good life.
Cutting oak trees for whisky casks
Many publications have stopped using photographers, and writers just snap a picture with their iPhone. Is it still possible for someone to build a career like yours?
I think that you get what you pay for. If you want someone to do a visual essay on some important subject — like AIDS or the Coronavirus — you need someone who knows how to tell stories a visual way. I don’t think you can just send in anybody and expect something insightful. You need someone with experience, ethics and skills. If we can’t see things, then we can’t learn about them, and then how would we know what the problems are? From the government? We know that’s not the best way. We need objective, professional people telling stories.
Kodak gave you the honor of shooting the last roll of Kodachrome. Is there anything you miss about film over digital photography?
There was a nice quality about Kodachrome. For me though, what I love about photography is the story and the emotional component in the picture. It’s not the print, the sharpness or color — what grabs me is the content. Apart from it was a beauty, there’s nothing else about shooting film I’m nostalgic about. With film I’d be shooting in low light, and be excited that I got the best picture of my life, and then I’d get it back and see it was out of focus. Trying to get into India with 300 rolls, and they would think you were smuggling, or trying to leave somewhere and ask them to hand inspect them and not use the x-ray machine was a complete nightmare.
However, I probably shot 800,000 photos on Kodachrome, and it was heartbreaking to realize they were going to discontinue it. To this day I keep a few rolls in my fridge, just to honor the memory. I can’t bare the thought that it’s never coming back.
The Macallan Double Cask 15 Years Old ($135) and 18 Years Old ($330) will be available in the the United States later in August.
