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Sam Abell
Sam Abell

Sam Abell

Country: United States
Birth: 1945

Sam Abell is an American photographer known for his frequent publication of photographs in National Geographic. His love of photography began due to the influence of his father who was a geography teacher who ran a photography club. In his book The Photographic Life, Abell mentions a photograph he made while on an outing with his father, a photograph that subsequently won a small prize in a photo contest. He credits that prize as being a major influence on the direction his life would take. Abell was the photographer and co-editor for his high school yearbook and newspaper.

Abell graduated from the University of Kentucky in Lexington where he majored in English, minored in Journalism, and was the editor of the Kentuckian Yearbook. He is also a teacher, an artist and an author. He received an honorary Doctor of Letters degree from the University of Toledo in 2009.

Sam Abell's book The Life of a Photograph is one of three volumes begun in 2000 with Seeing Gardens, followed in 2002 with The Photographic Life and Sam Abell Library in 2013.

Source: Wikipedia


Photography, alone of the arts, seems perfected to serve the desire humans have for a moment—this very moment—to stay.

-- Sam Abell



National Geographic photographer Sam Abell has defined his career with patience. There is no dull section of a Sam Abell photograph, the frame is layered from back to front with compelling imagery. This can be a slow process, it can take days, weeks, or in some cases months for the right opportunity to present itself. His photographs are considered to be amongst some of the best images to have appeared in the esteemed publication. Somehow, Sam agreed to sit down with us and have a chat about his life, work and photographic philosophy.

Source: The Adventure Handbook


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.

-- Sam Abell



 

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More Great Photographers To Discover

Giles Duley
United Kingdom
1971
Giles Duley was born in 1971 in London. After 10 years as an editorial photographer in the fashion and music industries in both the US and Europe, Duley now focuses his work on humanitarian projects. Working with well respected charities such as Medecins sans Frontiers, IOM and UNHCR to highlight lesser known stories deserving of public attention and action. Although documenting challenging, and at times, horrific situations, Duley captures the strength of those who fight their adversity rather than succumb. His photographs draw the viewer to the subject, creating intimacy and empathy for lives differing from ours only in circumstance.In 2011, whilst on patrol with 75th Cavalry Regiment, United States Army in Afghanistan, Duley stepped on an improvised explosive device. He was severely injured, losing both legs and an arm.Source: www.gilesduley.com Artist Statement "In 2011 I was injured whilst working as a photographer in Afghanistan. I spent the next 46 days of my recovery fighting for my life in intensive care. During that period, I was often awake for days, unable to move or communicate as I was incubated and my remaining shattered hand was in a cast. My mind wandered, drifting on a mixture of morphine, exhaustion and fear and so battling to keep my sanity and to pass the dragging hours I’d challenge myself with mental exercises. My favourite was thinking of portraits I wished I could do, creating a list of the 100 people I most wanted to photograph. My first love in photography was portraiture. I love telling someone’s story through an image, trying to capture some essence of character in a frozen moment. For ten years I worked as a portrait photographer before cynicism with celebrity culture and a desire to document humanitarian issues took me in a different direction. I had always hoped to return to portraiture in time. Lying there, trapped in my body, I imagined all the portraits I wanted to take, aware that now I’d probably never get the chance. This wasn’t just a list of heroes or inspirations; more a collection of people who had shaped my cultural identity or whose large personas drew me in. Ben Okri whose writing first opened my eyes to Africa and storytelling; Tom Waits with his gnarled voice; Natalie Portman, hypnotic in the last film I’d seen before my accident; Don McCullin who inspired me to first pick up the camera. The list grew in my mind; eclectic, eccentric characters I wished I’d captured in frame. I resolved that if by some chance I made it through, I’d contact the names on my list and ask them to sit for a portrait. I would not waste my second chance at life. I have no idea where this project will lead, who will say yes, who will say no, or what I will learn about the people I meet and about myself. I’m aware I’ll face practical difficulties brought on by my injuries and the challenges of working within a celebrity culture, but through this journey I hope to develop my abilities in portraiture, to explore my own cultural identity and broaden my understanding of photography. Most importantly to fully regain my life and identity post accident, with more than a little fun along the way! As for the list? From PJ Harvey to Dead Prez, from Samantha Morton to Jean Paul Belmondo, the names on the list are united by a common trait. When I thought I was going to die and when I had to come to terms with my new life, one thing kept me going, my photography. It is my lifeblood. The sitters for my portraits may all be famous, but I believe they have become that because of what they do, not because they craved celebrity. I believe for each one their craft is also their lifeblood. So here I am. It’s taken two years, 30 operations and a long rehabilitation, but I’m ready to start. 100 Portraits Before I Die: A Photographers Odyssey..."
Stefano Galli
Italy
1981
Stefano Galli is an Italian photographer born in 1981. After graduating at the University of Turin, with a BA in cinema, he moved to Copenhagen, Denmark, where he worked with director Lars Von Trier. During these years he attended Fatamorgana, The Danish School of Art & Documentary Photography. Fascinated with traveling and the discovery of new environments, Galli is currently working on a new series that belong to a trilogy started with 'Cars' and followed by '80 Skies'. He recently terminated a non-narrative documentary-film, based on the stories of random people met along a journey through the USA. Galli exclusively works on a traditional analog way, both in his motion and still project. Currently based in Los Angeles. About '80 skies'Gazes at the sky. The beauty and power of pure light entering the camera. A project that recalls Claude Monet’s study of the influence of light on objects. Stefano Galli brings his own light studies to the extreme, focusing on the sky and its myriad variations. In “80 SKIES”, the protagonists of Galli’s frames are airplanes or - better said - the small shapes that fly over our heads daily. Because of their height in the sky and the sunlight by which they are surrounded, the shapes Galli captures become something entirely different than just giant devices that move hundreds of human beings. In many cases, the planes are insignificant elements when compared to the magnificence of the heavens. In fact, the eye of the viewer becomes lost in the contemplation of the colors, in the totality of the photographs; looking at these images, the impression of hearing the deafening noise or the usual imagery of the airplane is not perceived. Fascinated by movement and travel, Stefano Galli dedicates this project to the aircraft for the purpose of studying the sky. The result is a creative pictorial but also a tiring study that begins in the early hours of dawn and ends with the fall of the sun. Pushing 35mm negatives to the extreme through a 90mm lens, he lets the film be flooded by the infinite heavenly hue, the changing colors of the horizon sometimes grayish, or yellow and pink, the broad spectrum of colors that characterize the sky. The intensity of the light seems to struggle with the film speed, so the photographs are characterized by a thick grain that gives the picture a three-dimensional effect, as if it had been given a brushstroke.A photographic project that shows the endless variations of the light system in which we live. About 'Cars': Stefano Galli’s work documents his journey of crossing deserts, through forgotten villages, on remote and empty roads. In ‘Cars’ , geography is just as important as photography even if in his shots - distinctive sharp cuts - he leads away from the dusty streets and daily life. Galli conducts the imagination to an elsewhere where lines play with material and shape, where the tail lights and fenders are transformed into surreal and alien beings. Yet ‘Cars’ goes far beyond a mere figurative research, the work is conducted with rigor and awareness, typical of a geographer or an archivist. In fact, Stefano meticulously notates the physical location of the intersection shown in each photograph. Therefore, the project goes beyond the cult of the American car. Through this adventure, Galli tracks and defines - snap after snap - a cognitive path of the new continent. So there is an aspect that links these works to a deep investigation of American society and to aspects of decay and yet, mixed with a splendor that still dazzles. The essence of his idea lies not only in the aesthetics of the work, but also in his decision to show the layers of dust on the cars, the broken headlights and swollen wheels. In this series, a fascination with America remains. A fascination with all its vastness and complexity, which attracts and disturbs at the same time. Discover Stefano Galli's Interview
Mette Lampcov
Denmark
1968
Mette Lampcov is a freelance documentary photographer from Denmark, based in Los Angeles. She studied fine art in London, England and after moving to the United States 13 years ago. Her personal work includes projects about gender based violence and undocumented migrant workers in California. She is currently concentrating on a long term project "Water to Dust" documenting how climate change is affecting people and the environment around them in California. Her work has appeared in the New York Times, The Sydney Morning Herald, Open Society Foundation , BuzzFeed News, The Guardian, The Phoblographer She is a regular contributor to @everydayclimatechange and @everydaycalifornia Exhibitions: Docudays UA, International Human Rights Documentary Film Festival, Kiev. Noorderlicht Fotogalerie in Groningen Anderson Ranch - 15 stories ICP - projection "talk in images" Part of 15 Stories of Hope, Change & Justice exhibition at Johns Hopkins university Street level photoworks Glasgow with @everydayclimatechange ImagOrbetello exhibition with @everydayclimatechange Water to Dust Water to Dust : a photographic account of how climate change is affecting the people and environment of California. The project includes stories about how 149 million trees have died in the Sierra Nevada mountains, how water contamination is affecting rural communities as demand for water increases, and how California is seeing an increase in more aggressive, larger and faster moving wildfires that are devastating communities and forests. We are facing an existential threat to ourselves and our environment, she believe with a better educated and more informed public we can make better decisions for our future.
Claude Cahun
France
1894 | † 1954
Claude Cahun (25 October 1894 - 8 December 1954), born Lucy Renee Mathilde Schwob, was a French Surrealist photographer, sculptor and writer. Schwob adopted the pseudonym Claude Cahun in 1914 and is best known for their self-portraits, in which they assume a variety of personae. Cahun's work was both political and personal, and often undermined traditional concepts of static gender roles. In their autobiography, Disavowals, they explained their rejection of gender, "Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me." This declaration is an important consideration when analysing Cahun's photography as they intentionally play with and subvert the viewers' understanding of gender. This quote, together with their unconventional appearance and their gender-ambiguous pseudonym, means that it is not infrequent to see the pronoun 'they' used nowadays in critical studies on Cahun. There is no evidence that they ever adopted 'they' as their preferred pronoun, but one should take into account the cultural and historical context behind this. Given that French pronouns were extremely binary and the use of gender neutral pronouns for nonbinary individuals wasn't common in the European interwar period, it isn't unreasonable to imagine Cahun would have used gender neutral pronouns had it not been for their environment. In any case, the use of the gender neutral pronouns in reference to Cahun is less of an attempt to apply contemporary norms to a historical figure, but rather a way for their gender to remain an open question in academia. During WWII, Cahun was also active as a resistance worker and propagandist. Source: Wikipedia
Bharat Patel
United Kingdom
1949
Richard Learoyd
United Kingdom
1966
Richard Learoyd was born in the small mill town of Nelson, Lancashire, England in 1966. At the age of 15, his mother insisted he take a pinhole photography workshop, which he attributes as the start of his interest in photography. In 1990 he graduated from the Glasgow School of Art with a degree in Fine Art Photography. While there he studied with American photographer Thomas Joshua Cooper. In 1991 Learoyd was awarded an artist-in-residence at the Scottish Ballet. Learoyd taught photography at Bournemouth and Poole College from 1994 until 1999. In 2000, he moved to London where he worked as a commercial photographer. Source: Wikipedia Richard Learoyd’s color images are made with one of the most antiquarian of photographic processes: the camera obscura. Literally translated from Latin as “dark room,” Learoyd has created a room-sized camera in which the photographic paper is exposed. The subject—often a person, sometimes a still life—is in the adjacent room, separated by a lens. Light falling on the subject is directly focused onto the photographic paper without an interposing film negative. The result is an entirely grainless image. The overall sense of these larger-than-life images redefines the photographic illusion. Learoyd’s subjects, composed simply and directly, are described with the thinnest plane of focus, re-creating and exaggerating the way that the human eye perceives, and not without a small acknowledgement to Dutch Master painting. Learoyd’s black-and-white gelatin silver contact prints are made using the negative/positive process invented roughly 170 years ago by Englishman W. H. Fox Talbot. Working with a large and portable camera obscura of his own construction, Learoyd has journeyed outside of his London studio, into the art-historically rich English countryside, along the California coast, and throughout Eastern Europe, producing images that have long been latent in his imagination. The negatives are up to 80 inches wide, resulting in the largest gelatin-silver contact prints ever made. In 2015, Aperture released Richard Learoyd: Day for Night, a comprehensive book of color portraits and studio work, and concurrently, the Victoria & Albert Museum in London mounted a his first solo museum exhibition, Dark Mirror. In 2016, the J. Paul Getty Museum opened a solo exhibition of his large-scale portrait and still-life photographs, which then traveled to the Nelson-Atkins Museum of Art. In 2019, a survey exhibition will open at Fundación MAPFRE in Spain. Learoyd’s work is included in the collections of The Getty, Tate, Victoria & Albert Museum, Centre Pompidou, The Metropolitan Museum of Art, San Francisco Museum of Modern Art, Nelson-Atkins Museum, National Gallery of Canada, and Yale University Art Gallery, among others. Source: Fraenkel Gallery
Lara Wilde
Germany
1988
Lara Wilde dances in her projects between the themes of raw human emotions and the complexity of the outside world. As a photographer and psychologist she is interested in what moves us as humanity on an individual level. Besides an intensive involvement with her protagonists, she stands for technical perfection in the execution, which has earned her several awards. Since 2016 Wilde is working as a fine art photographer and creative director. Statement A few years ago I moved from a Norwegian village back to Berlin to study photography. What I didn't know back then is that you unlearn being a city person when you are gone long enough. I really thought I would die in the anonymous streets of the city I once loved so much. As you know, when we are determined to solve a problem, we go deeper into it. So I wanted to meet strangers and see how they feel outside of their awesome social herds. A lot of nights I now invited myself to other peoples houses, men and women, all strangers, drinking coffee and photographing them in the process. I shot them in longterm exposures, first, because I didn't want to bring a lot of equipment, but later I enjoyed the slow process, sitting there in darkness and waiting for the picture to come through. For some people, it was torture sitting around in the darkness, confronted with their thoughts without their smartphones, friends or busy surroundings. For me they looked like something was missing when they were just sitting by themselves. It felt really personal watching them trying to get comfortable in this inputless scene, to see them struggle, or to see them think and sometimes sharing the feelings that were coming forward. All these conversations with strangers, waiting around in the dark, gave me a feeling of togetherness, becoming a tiny particles of their lives and giving them something that they normally didn't have: Stillness. They were so open and thankful for conversations and most of the times we talked about the real shit: About being lonely, about dying, about calling our parents and our first love. All the stories found their way into the pictures and reminded me of everything we talked about. But I personally got my Berlin back. Not at the streets, but at the dark corners of their homes. Everything in their homes told their stories as loud as they did and I had the honor of being part of it for a short period of time. I get you now, Berlin-people: You are kind and giving, but you are afraid of being used. You are interested in others, but don't want to be tangled up in other peoples problems. You want to show yourself, but want to be accepted. And if you like it our not, the people around you want that too.
Tim Flach
United Kingdom
1958
Tim Flach is an animal photographer with an interest in the way humans shape animals and shape their meaning while exploring the role of imagery in fostering an emotional connection. Bringing to life the complexity of the animal kingdom, his work ranges widely across species, united by a distinctive stylisation reflecting an interest in how we better connect people to the natural world. He has four major bodies of work concerning different subjects: Equus (2008) focusing on the horse, Dogs Gods (2010) on canines, More Than Human (2012) a broad exploration of the world’s species, and Endangered (2017) a powerful document of species on the edge of extinction. He has published five books; Endangered (2017), Evolution (2013), More than Human, (2012), Dogs Gods (2010) and Equus (2008). Flach is an Honorary Fellow of the Royal Photographic Society, and was awarded an Honorary Doctorate from University of the Arts London in 2013. He lives and works in London with his wife and son. Source: timflach.com Over the past decade, Flach's work has increasingly focused on animals, ranging widely across species but united by a distinctive style that is derived from his concerns with anthropomorphism and anthropocentrism. His interests lie in the way humans shape animals, and shape their meaning. He has three major bodies of work: More Than Human, Dogs Gods, and Equus. Through the related books and exhibitions, Flach has attracted international interest. His images have been acquired by major public and private collections. Commissions by leading editorial and commercial clients have also garnered multiple awards, including three Cannes Lions. He has won the International Photography Award's Professional Photographer of the Year for fine art, and in 2013 was conferred with an Honorary Doctorate from Norwich University of the Arts, in recognition of his contribution to photography.
Rory Doyle
United States
1983
Rory Doyle is a working photographer based in Cleveland, Mississippi in the rural Mississippi Delta. Born and raised in Maine, Doyle studied journalism at St. Michael's College in Colchester, Vermont. In 2009, he moved to the Mississippi Delta to pursue a master's in education at Delta State University in Cleveland. He has remained committed to photographing the Delta, with a particular focus on sharing stories of overlooked subcultures. He was a 2018 Mississippi Visual Artist Fellow through the Mississippi Arts Commission and National Endowment for the Arts for his ongoing project about African American cowboys and cowgirls, "Delta Hill Riders." Doyle won the 16th Annual Smithsonian Photo Contest, the 2019 Southern Prize from the South Arts organization, the 2019 Zeiss Photography Award, the 2019 ZEKE Award for Documentary Photography, and the 2019 Michael P. Smith Award for Documentary Photography from the New Orleans Photo Alliance. He has had solo exhibitions in New York City, London, Atlanta and Mississippi. Doyle's work has been published in The New York Times, Washington Post, Wall Street Journal, The Atlantic, The Guardian and CNN. Delta Hill Riders Historians agree that just after the Civil War, one in four cowboys were African American. Yet this population was drastically underrepresented in popular accounts, and it is still. The "cowboy" identity retains a strong presence in many contemporary black communities. This ongoing documentary project in the Mississippi Delta sheds light on an overlooked African American subculture - one that resists historical and contemporary stereotypes. The project began January 2017 when I attended a black heritage rodeo in Greenville, Mississippi. The body of work reveals how deep and diverse this community is. I've been invited to black heritage rodeos, horse shows, trail rides, "Cowboy Nights" at black nightclubs across the Delta, and to subjects' homes across the region. The project aims to press against my own old archetypes - who could and could not be a cowboy, and what it means to be black in Mississippi - while uplifting the voices of my subjects.
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