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Photographer's Note

but never like that....

And that desire--the strong desire to take pictures--is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that the full expression of what we see and feel. It is the hope that we might express ourselves fully--and the evidence that other photographers have done so--that keep us taking pictures. - Sam Abell,

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,

But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think--to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work. - Sam Abell,

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

You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that ." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials--light, space, and shape--are arranged in a meaningful and even universal way that gives grace to ordinary objects. - Sam Abell,

*Sam Abell (born 1945 in Sylvania, Ohio) is an American photographer known for his frequent publication of photographs in National Geographic. He first worked for National Geographic in 1967, and is one of the more overtly artistic photographers among his magazine peers. Sam Abell's style of photography is documentary in the sense that his major avenue, the National Geographic magazine, is a publication of record. However, his best work is known for its transcendent qualities, starting at the documentary level yet open to interpretation on an aesthetic level. One of his favorite photographs (based on how often he mentions it when asked about his work) is of the tree viewed through a Japanese window, which graces the cover of his book Seeing Gardens. It's a documentary photograph of a tree, but due a combination of light and Abell's inclusion in his composition of roof tiles in the background, the photograph takes on the transcendent, illusory quality of a stained glass window. Abell rarely uses flash, preferring a pure relationship with light. He has said that he could be perfectly happy with his photography even if his only subject was light itself .....etc...W....http://en.wikipedia.org/wiki/Sam_Abell

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Additional Photos by Georgios Topas (TopGeo) Gold Star Critiquer/Gold Star Workshop Editor/Gold Note Writer [C: 4033 W: 93 N: 8299] (38220)
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