A Quote by Sam Abell
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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A good, finished scandal, fully armed and equipped, such as circulates in the world, is rarely the production of a single individual, or even of a single coterie. It sees the light in one; is rocked and nurtured in another; is petted, developed, and attains its growth in a third; and receives its finishing touches only after passing through a multitude of hands. It is a child that can count a host of fathers--all ready to disown it.
Now today, moment by moment, realize that each person and event that happens is life for you. Life is not somewhere else. See how fully you can accept the life that presents itself to you now.
The inferiority of photographs to the best works of artists, so far as resemblance is concerned, lies in their catching no more than a single expression. If many photographs of a person were taken at different times, perhaps even years apart, their composite would possess that in which a single photograph is deficient.
There is surely nothing other than the single purpose of the present moment. A man's whole life is a succession of moment after moment. If one fully understands the present moment, there will be nothing else to do, and nothing else to pursue. Live being true to the single purpose of the moment.
In a last violent protest against the hopelessness of imminent death, I sensed my spirit piercing through the enveloping gloom. I felt it transcend that hopeless, meaningless world, and from somewhere I heard a victorious "Yes" in answer to my question of the existence of an ultimate purpose. At that moment a light was lit in a distant farmhouse, which stood on the horizon as if painted there, in the midst of the miserable gray of a dawning morning in Bavaria. "Et lux in tenebris lucet"-and the light shineth in the darkness.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
I always took photographs. I photographed a lot of trees, by the way, which is another image I used often in my work, the tree image.
'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.
I'll never forget the moment when I saw a red light go on, on the camera, and that image translated to the monitor, and then a different light went on and the shot changed, and I went, "Wow, that's how it's done! That's how that gets to my TV! This is what I want to do with my life!" I literally had that moment of epiphany, at eight years old.
Whatever is arising in this moment, whatever condition, is part of the isness of life and therefore accepting it fully makes you an expression of the enormous power of life itself-true intelligence, which only comes when you stop obstructing the power of the present moment.
A man is likewise form and expression, a written sign thrown unto boundless matter, an undifferentiated word of what is. I've therefore been created in the image of the inscriptions that, as a child, I used to project unto my bits of bone, stone, wood, and iron, probably even in the image of a single one of their words, a single one of their letters.
As far as I am concerned, taking photographs is a means of understanding which cannot be separated from other means of visual expression. It is a way of shouting, of freeing oneself, not of proving or asserting one's own originality. It is a way of life.
My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.
I suspect it is for one’s self-interest that one looks at one’s surroundings and one’s self. This search is personally born and is indeed my reason and motive for making photographs. The camera is not merely a reflecting pool and the photographs are not exactly the mirror, mirror on the wall that speaks with a twisted tongue. Witness is borne and puzzles come together at the photographic moment which is very simple and complete. The mind-finger presses the release on the silly machine and it stops time and holds what its jaws can encompass and what the light will stain.
Every year, the memories I have of my father become more faint, unclear, and distant. once they were vivid and true, then they became like photographs, and now they are more like photographs of photographs.
We don't turn back. We leave no one behind. We pull each other up. We draw strength from our victories, and we learn from our mistakes, but we keep our eyes fixed on that distant horizon, but we keep our eyes fixed on that distant horizon, knowing that Providence is with us, and that we are surely blessed to be citizens of the greatest nation on Earth.
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