Barry Tanenbaum

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Barry Tanenbaum Posted: Apr 29, 2014 Published: Mar 01, 2014 0 comments
“I got to Los Angeles four days before the ’84 Olympic games began, and at the gymnastics pavilion saw Glenn Sundby, the founder and publisher of International Gymnast magazine. I knew Glenn, and he’d been hired as venue chief for photographers. Not knowing he’d get that job, two years earlier he’d bought an arena ticket and had a front row center seat for the events. He gave me that ticket in return for use in his magazine of any photographs USA Gymnastics didn’t choose.
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Barry Tanenbaum Posted: Mar 14, 2014 Published: Jan 01, 2014 0 comments
Currently a lecturer, teacher, and writer, Sam Abell’s celebrated career includes positions as a contract and staff photographer and photographer-in-residence at National Geographic magazine. This 1959 photo of his father at the Painesville, Ohio, train station is the homepage image of his website, samabell-thephotographiclife.com.
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Barry Tanenbaum Posted: Dec 17, 2013 Published: Nov 01, 2013 0 comments
Rick Sammon’s first comment when I asked about this picture was, “The best time to take a night picture is not at night.” Twilight is a better choice, and that’s when this image was made in Albuquerque, New Mexico, which was the first stop for Rick and his wife, Susan, on their six-day tour last April of selected attractions along Route 66.
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Barry Tanenbaum Posted: Dec 06, 2013 Published: Nov 01, 2013 0 comments
Chances are you won’t be photographing in the negative numbers of extreme cold that Layne Kennedy often encounters—we’re talking -15 to -30 degrees Fahrenheit—but his experience with and guidelines for cold-weather shooting can provide you with a considerable degree of comfort no matter what the temperature.
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Barry Tanenbaum Posted: Nov 15, 2013 Published: Oct 01, 2013 0 comments
Arthur Meyerson is an award-winning commercial, editorial, and fine art photographer celebrated for his control of composition and command of light and color. In 2012 he published The Color of Light, a collection of iconic, classic images that included this photograph.
Barry Tanenbaum Posted: Jul 26, 2013 Published: Jun 01, 2013 2 comments
There are stories we tell to explain ourselves, to clarify who we are, and to account for why we are who we are. And no matter what the apparent subject of these stories, what they are always really about is the past. “The past is never dead,” William Faulkner said. “It’s not even past.”
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Barry Tanenbaum Posted: May 28, 2013 Published: Apr 01, 2013 2 comments
A phone call from a friend woke Chris Fulcher at his home in Newtown, Connecticut, around 10:30am on December 14th last year. “I’d slept late and didn’t know what was going on,” Chris says. “My buddy told me to check the news, and then I rushed to the school because my 6-year-old cousin goes to that school.”
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Barry Tanenbaum Posted: Apr 30, 2013 Published: Mar 01, 2013 1 comments
While most of Tom Bol’s outdoor and adventure images begin with specific assignments or great scenic opportunities, there are a good number that begin with Tom asking himself, “What if…?”
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Barry Tanenbaum Posted: Jan 31, 2013 Published: Dec 01, 2012 32 comments
While most of us are dedicated to capturing fleeting moments by slicing seconds into ever smaller fractions, Michael S. Miller has a different tale to tell. In a project he calls Long Light, he takes the time to let the moments simply accrue.

Long Light began with Michael’s viewing of historic view camera images. One in particular—a Mississippi riverboat, blurred by the camera’s slow shutter speed—caught his attention. “The water had this mystical kind of feeling to it because of the long exposure,” Michael says, “and I thought, all right, let’s see what happens if I do some long exposures of rivers.”

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Barry Tanenbaum Posted: Nov 21, 2012 Published: Oct 01, 2012 1 comments
Who: Robert Beck, staff photographer for Sports Illustrated.
What: Infrared (IR) photography.
When: “The editors give me some leeway,” Robert says, “but I’m not going to be using it for a decisive putt.”
Where: Golf courses all over the world.
Why: Although the job calls for capture of the peak moment, the turning point, the key play, the tense concentration, the moment when the athlete’s body language gives it all away, there’s always the professional and personal challenge to do something different.
How: With a Nikon D700 modified for infrared photography.

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