Talking Pictures

The Killer is Jerry Lee Lewis—if you want the origin story of his nickname, it’s searchable—and on that night in 1975 he was past his rockabilly and rock-and-roll days and into his country music career. Photographer Henry Horenstein was at the Ramada Inn in East Boston on assignment for Country Music magazine to photograph Lewis between sets.

A little bit of luck and a few snap decisions went into Robert J. Gowdie capturing in a still photo all the exuberance, energy, and playful nature of Alonzo, the 3-month-old Havanese puppy who had just come home to Gowdie’s family.

I was touring in Merida, Spain, through Roman ruins. I had an image of columns, brick, and shadow lined up when a young girl in red flashed into my frame. Wow! With just a bit of serendipity I had captured old vs. contemporary, free form vs. ossification, modern meets old. For me, this was just a great moment. I processed this image in Lightroom and took the color out except for red, allowing even more stark contrast.

Because her intent is to get the absolute best image in-camera, Lindsey Thorne is “pretty exact when it comes to lighting and posing.” When she describes her studio, the scene of almost all her boudoir sessions, as “modest and simple,” she’s citing an advantage. “I love shooting in a smaller room because I have so much control over the light.”

The temperature was 19 degrees on a late February morning last winter on the beach at Nantucket, Massachusetts. About 300 yards out the ocean was icing up, and the waves rolling in had the consistency of freshly mixed concrete. Checking things out was pro photographer Jonathan Nimerfroh.

Ian Coble had purchased a waterproof housing for his camera earlier in the summer, and after a photo trip to Hawaii wanted to get back into the water for more shooting. So he called his friend Ben Rhodea, an expert stand-up paddleboarder, and they met up at nearby Elliott Bay, outside Seattle, Washington.

Follow That Elephant
While on a safari in the Serengeti of Tanzania we were tracking a family of cheetahs when we crossed a dry lakebed with these incredibly large and deepened footprints of an elephant. The asymmetrical pattern that emanated from the portion of a dried piece of driftwood almost looked as though it had been arranged for the shot in the middle of nowhere. Although we never did catch up with that elephant, the recorded scene of what I didn’t see left an indelible impression with me that transcends pretty much many of the animals I did see and document.
—Marvin Seiger
Scottsdale, AZ