Want to know about commitment to your art? Think you have what it takes? Listen up.
For the last 40 years, Sam Abell has worked as a documentary photographer, primarily for National Geographic. In this video interview for the Atlantic (created by Alex Hoyt & Ross McDermott), Sam recounts his year-long quest to find the perfect image for a story.
No excuses about modern timelines, budgets, or any of that. When was the last time you hunted for an image, a clip, a specific shot for a year?
Didn’t think so. Confession = me neither. #Inspiring
I’m having a hard time believing your “me neither” comment… I would think anyone with a bit of artistic blood who often shoots the same kind of thing has kernels in their mind of shots they want to get, ones they’re always keeping their mind’s eye out for, waiting for an opportunity and perhaps trying to manufacture one from time to time. It may not always be as concrete and conscious as in the video, but it has to be there… having them is part of the artistic experience; without them, it’s just work.
This was great. When I first decided to make photography a career 10 years ago Sam Abell was the first photographer to inspire me. I bought a National Geographic Field Guide and his Bio stood out to me the most. He talked about staying true to what he saw and using as little as possible to achieve it. I think all photographers can learn and adapt something from how Sam operates. Thanks for sharing.
I thought I shot too much on location. I try different things, different angle, just knowing that I will only be happy with one or two. I just presumed that the Pro’s took one picture and it was immediatly lovely. I take solace in knowing how conservative a shooter I am in comparison…
I absolutely have – I have two spots in North America that I go to year after year and I have this picture in my mind that I haven’t been able to make with the camera yet. Someday the conditions may work out but not yet.
Nearly as impressive was that he took 25,000 pictures to end up with the final 8! Wonder if it was the classic Kodachrome that NatGeo seems to love?