Quote

A very big part of the life of a photograph is the afterlife.

Sam Abell

Change background

T
T
T

Change font

TAGS & TOPICS

Sam Abell
Age: 79
Born: 1945
Born: February 19
Photographer
Sylvania
Ohio
Photograph
Bigs
Part
Life
Afterlife

More quotes by Sam Abell

Image
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.
Sam Abell
Image
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.
Sam Abell
Image
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.
Sam Abell
Image
My best work is often almost unconscious and occurs ahead of my ability to understand it.
Sam Abell
Image
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.
Sam Abell
Image
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.
Sam Abell
Image
It matters little how much equipment we use it matters much that we be masters of all we do use.
Sam Abell
Image
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.
Sam Abell
Image
My first priority when taking pictures is to achieve clarity. A good documentary photograph transmits the information of the situation with the utmost fidelity achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.
Sam Abell
Image
It's more difficult now, to be a Geographic photographer, than it was when I came along. And it wasn't easy at that time.
Sam Abell
Image
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.
Sam Abell
Image
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.
Sam Abell
Image
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.
Sam Abell
Image
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.
Sam Abell
Image
I'm interested in smokers standing on ledges, and big box stores, the rise of the suburbs, and the hollowing out of small towns. Self-storage. Things that didn't exist 50 years ago. Our common culture. What we have agreed is OK to live with.
Sam Abell
Image
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.
Sam Abell
Image
The unusual wins out over the usual.
Sam Abell
Image
The class that I teach is called The Life of a Photograph. It takes up the question, of the billion photographs that were taken today, how many will have a life, and why? So the new reality has made the question more pertinent, not less pertinent.
Sam Abell
Image
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.
Sam Abell
Image
A mad, keen photographer needs to get out into the world and work and make mistakes.
Sam Abell