A Quote by Sam Abell

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.
I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.
I told myself, 'When I grow up, I want to make pictures that can inspire and nourish people.' Immediately, when I was 10, I started photographing nature. I built a darkroom. My first really good darkroom, not just down in the cellar, was when I was 14.
Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine.
Technology has eliminated the basement darkroom and the whole notion of photography as an intense labor of love for obsessives and replaced them with a sense of immediacy and instant gratification.
It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.
For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.
It was soon evident in my lodgings that I had become a dangerous lunatic, and there would be nothing left to destroy if strong measures were not taken. So I was turned out of the house, but it was only into the garden, where I was allowed to build a small darkroom of oilcloth.
I read like a crazy person, I play the piano, and I'm a photographer. I always say my photography keeps me sane. I spend a lot of time in the darkroom. It's a very solitary, quiet life when I'm not working.
I was born in Seoul, South Korea; then I moved to New York City at the age of seventeen. In New York, I studied art and photography. I thought I would be a painter; then I saw Walker Evans when I was in college, and that had a great impact on me. Being in the darkroom making B&W prints was such a magical experience.
The boy I was crazy about was super into photography, so I weaseled my way into AP Photo to impress him and spend more time with him. He never liked me back, but I ended up spending most my senior year in the darkroom - it became a sort of safe haven for me.
Darkroom work had, after all, never interested me except as a means to an end; the place I wanted to be was outside in the light.
My lifestyle is bizarre, but the only thing you need to know is where the darkroom is.
I'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.
It's equally hard and labor intensive to create an image on the computer as it is in a darkroom. Believe me.
Fear is the darkroom where negatives are developed.
The darkroom is just the means to an end.
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