Quote

For sheer majestic geography and sublime scale, nothing beats Alaska and the Yukon. For culture, Japan. And for all-around affection, Australia.

Sam Abell

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Sam Abell
Age: 79
Born: 1945
Born: February 19
Photographer
Sylvania
Ohio
Nothing
Australia
Scale
Japan
Yukon
Scales
Majestic
Affection
Alaska
Beats
Geography
Culture
Sublime
Around
Sheer

More quotes by Sam Abell

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The unusual wins out over the usual.
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Photographs that transcend but do not deny their literal situation appeal to me.
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Aboriginal Australia is a tough place to work, rough and tough.
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When assignments were over, photography continued. One of the primary reasons it did was that I wanted and needed to have fresh work. Also, it's very stimulating to be around non-professional photographers. They're the ones with the purest flame burning about their photography. I appreciate that.
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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.
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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.
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I think that it's workshops, honestly, that have kept me keen about photography, and about my photography. My career as a workshop photographer came while I was at the Geographic in the late 70's, and has continued consistently since then.
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I had a book come out several years ago, when there were no blogs. This is a mark to me about how the environment has changed.
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The thing with my workshops is, photography is a thoughtful process. In an atmosphere of fast photography, and generally thoughtless, quick, automatic photography, I think that there is an interest in the slowed down, thoughtful approach.
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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.
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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.
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A very big part of the life of a photograph is the afterlife.
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What I'm interested in is modern American history. I'm taken with the changes that have occurred in America in my lifetime.
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The neatest part of this book I'm working on - to me - are the pictures that show the process... Because photographers... think things through and... it isn't luck, and it isn't random and it isn't accidental. It isn't.
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A mad, keen photographer needs to get out into the world and work and make mistakes.
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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.
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For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.
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Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.
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First of all, I appropriate photographs.In presenting the Richard Prince photograph I tried to be as neutral as I could be. I put down the fact of it. I wanted it to be the same thing he wanted it to be, an open ended invitation to think about authorship, and who owns a created work. So I pair it with my appropriated picture.
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There's a great quote about Virginia Woolf, she had the same spiritual stake in her diaries as she had in her writing.
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