American - Photographer | 1945 -
I had luck, but I worked hard and I suffered. It's not just photography I'm talking about. It's about whatever dream you want it to be.
Sam Abell
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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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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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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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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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I was known as a 35-mm photographer with a view-camera mentality.
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Editorial photography has to be energetic and visually competitive.
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Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.
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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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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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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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The best lesson I was given is that all of life teaches, especially if we have that expectation.
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