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I was a consultant for Kodak back in the late 80's. There were engineers there who told me that in the future, most photographs would be taken on telephones. They weren't able to do anything with that. They were engineers, not management.

Sam Abell

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Sam Abell
Age: 79
Born: 1945
Born: February 19
Photographer
Sylvania
Ohio
Would
Photograph
Kodak
Late
Consultant
Told
Consultants
Taken
Telephones
Future
Engineers
Anything
Photographs
Back
Weren
Able
Management

More quotes by Sam Abell

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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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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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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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My best work is often almost unconscious and occurs ahead of my ability to understand it.
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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.
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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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It matters little how much equipment we use it matters much that we be masters of all we do use.
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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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A very big part of the life of a photograph is the afterlife.
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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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A mad, keen photographer needs to get out into the world and work and make mistakes.
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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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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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Photographs that transcend but do not deny their literal situation appeal to me.
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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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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.
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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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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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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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