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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.

Sam Abell

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Sam Abell
Age: 79
Born: 1945
Born: February 19
Photographer
Sylvania
Ohio
Think
Kentucky
Thinking
Camera
Cameras
University
College
Example
Came
Dorm
Anyone
Dorms

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A very big part of the life of a photograph is the afterlife.
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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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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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Aboriginal Australia is a tough place to work, rough and tough.
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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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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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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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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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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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Photographs that transcend but do not deny their literal situation appeal to me.
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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 mad, keen photographer needs to get out into the world and work and make mistakes.
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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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Photography, alone of the arts, seems perfected to serve the desire humans have for a moment - this very moment - to stay.
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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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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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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.
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Teaching has never been far from my life. It's the most natural thing I do. Apparently, as I said, I cannot not do it.
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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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The unusual wins out over the usual.
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