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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
Affection
Alaska
Beats
Geography
Sublime
Culture
Sheer
Around
Australia
Nothing
Scale
Japan
Yukon
Scales
Majestic

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Typically I see it with photographers who go to a place like India or Nepal, and everything's so colorful and exotic and they think, therefore, a picture's been taken.
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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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My least favorite photographer to have would be myself. Someone who wanted a career at National Geographic. Because it's almost mathematically impossible to achieve that.
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[ My time and our common culture] it's what I'm photographing, and I'm very involved with that.
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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.
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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.
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Aboriginal Australia is a tough place to work, rough and tough.
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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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A mad, keen photographer needs to get out into the world and work and make mistakes.
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The unusual wins out over the usual.
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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.
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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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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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I was giving a lecture and I said, that's enough about The Photographic Life, meaning my biography, now let's talk about the life of a photograph. And in that one instant I got the title for a potential next book.
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That's who comes to my workshops. I jokingly tell my students that the class could be called Your photographs: Better.
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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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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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Though Geographic didn't publish that photo in the story that it was done for, The Life of Charlie Russell, a cowboy artist in Montana. But later, maybe a year and a half ago, they named it one of the 50 greatest pictures ever made at National Geographic.
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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.
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