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Sam Abell [1945-0] American

Sam Abell is an American photographer known for his frequent publication of photographs in National Geographic. He first worked for National Geographic in 1967, and is one of the more overtly artistic photographers among his magazine peers.

Alone, Best, Failure, Family, Home, Teacher

Quote	Tags	Rank
As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.		101
The best lesson I was given is that all of life teaches, especially if we have that expectation.	Best	102
Essentially what photography is is life lit up.		103
'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.		104
Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.		105
There are a lot of ways to be expressive in life, but I wasn't good at some of them. Music, for instance. I was a distinct failure with the cello. Eventually, my parents sold the cello and bought a vacuum cleaner. The sound in our home improved.	Failure, Home	106
My parents, grandmother and brother were teachers. My mother taught Latin and French and was the school librarian. My father taught geography and a popular class called Family Living, the precursor to Sociology, which he eventually taught. My grandmother was a beloved one-room school teacher at Knob School, near Sonora in Larue County, Ky.	Family, Teacher	107
There are grander and more sublime landscapes - to me. There are more compelling cultures. But what appeals to me about central Montana is that the combination of landscape and lifestyle is the most compelling I've seen on this earth. Small mountain ranges and open prairie, and different weather, different light, all within a 360-degree view.		108
My best work is often almost unconscious and occurs ahead of my ability to understand it.		109
A mad, keen photographer needs to get out into the world and work and make mistakes.		110
I think of myself as a writer who photographs. Images, for me, can be considered poems, short stories or essays. And I've always thought the best place for my photographs was inside books of my own creation.		111
Photography, alone of the arts, seems perfected to serve the desire humans have for a moment - this very moment - to stay.	Alone	112
It matters little how much equipment we use; it matters much that we be masters of all we do use.		113
Editorial photography has to be energetic and visually competitive.		114
My father taught me photography. It was his hobby, and we had a small darkroom in the fruit cellar of our basement. It was the kind of makeshift darkroom that was only dark at night.		115
For sheer majestic geography and sublime scale, nothing beats Alaska and the Yukon. For culture, Japan. And for all-around affection, Australia.		116
How the visual world appears is important to me. I'm always aware of the light. I'm always aware of what I would call the 'deep composition.' Photography in the field is a process of creation, of thought and technique. But ultimately, it's an act of imaginatively seeing from within yourself.		117
In almost every photograph I have ever made, there is something I would do to complete it. I take that to be the spirit hole or the deliberate mistake that's in a Navajo rug to not be godlike, but to be human.		118
I was known as a 35-mm photographer with a view-camera mentality.		119
When I first went to 'National Geographic,' I thought I was the least qualified person to step through the doors. But because of my parents and the culture of continual learning they imposed on us, I later came to believe I was the most qualified person who ever worked there.		120
I had luck, but I worked hard and I suffered. It's not just photography I'm talking about. It's about whatever dream you want it to be.		121
I wanted life to be episodic. I wanted to be a magazine photographer and I was willing to do what it took to become that.		122
My dad had been an ardent amateur photographer, and he taught me to compose a photograph from the back to the front, and then populate the picture.		123
There isn't an aspect of book creation I don't enjoy, and there has always been a book in my life to dream about or work on.		124

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