Customer Reviews

The Life of a Photograph

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Even when he arrived at "National Geographic" Magazine in the mid-1960's, Sam Abell had a style that was much more subtle than what most readers of the NGS Journal with the Yellow Kodak colored border with white filigree around the edges would imagine. Sam, like other NGS staff photographers was a good people and mood photographer and many of those who knew him would have expected him to go to work for "LOOK" magazine, but that publication disappeared and some of the other arty magazines such as "Holiday" were losing their photographic freshness.
This is definitely not a typical National Geographic Collection of photographs either. Yes the quality of the NGS is there, gorgeous print and super-saturated color quality, simple layout and quality printing in every respect, but otherwise the book most resembles a collection of paintings. When I looked at the beautiful fine arts photographs in this collection I couldn't help but notice the similarity of many of the images to what is displayed in many of the art galleries along nearby Newbury Street. So similar is some of the work that it could be hung in the same galleries and many viewers might assume that Abell's photographs were really paintings.
Sam Abell loves subtlety. Most of these pictures don't jump off the page and "wow" the viewers. Sometimes they simply slowly draw you into the scenes portrayed. Sometimes it takes a while to get the point and Sam always has a point. After decades of shooting for the NGS his personal tastes have naturally shifted from the stereotypical beautiful "National Geographic" image to more, personal, subtle images and patterns. His earliest photographs including the one of his father waiting a train station platform look so Art Deco in composition. Likewise for the surreal scene on page seven of a woman in a grey dress crossing and empty, sterile, futuristic looking grey concrete plaza. It too is Art Deco in style. More recent photographs don't emphasize the hard lines of a combination of Edward Hopper and Art Deco, and that's good. Like most world-class photographers whose style and interests change over time, that happens to most of the National Geographic staff photographers as well and Sam Able is a perfect example of that fact.
As I'm certain will be the case with other viewers and purchasers of this Fine Arts Photography Collection, there were many images that I loved, but there were many that I really didn't care for at all. The message that the photographer's eye sensed didn't transfer to me the viewer, although they probably did move other viewers. There are so few pictures showing any emotion. The biggest exception was the cowboy cradling his injured, fallen horse's head while waiting for medical help for his beloved steed. The photographer seems to prefer mechanical, machine-like patterns and pictures with hints of motion, form or color. In many cases the book's double-page spreads show two different views of the same subject matter. In addition to illustrating that more than one good photo exist within most situations, sometimes with a change in light, or simply examining a smaller detail of the over-all scene or the same scene taken in different weather or season such as "Two Views of Leo Tolstoy's Grave" shown on pages 190-191. It's very educational to see how a photographer such as Mr. Abell works a photographic situation looking for better, or at least different images within the over-all image.
The photographer's text is interesting, but doesn't always seem to add a lot of information to supplement the accompanying images. Mostly, the picture caption and/or accompanying text shows that the photographer takes his work very seriously even when he shoots pictures that are humorous like the dance class picture from the Farmington Country Club on page 35. Abell senses the unseen, unsaid and personal in his picture subjects. He attempts to bring that which is unseen to his viewers. Sometimes he gets the bear and sometimes the bear gets him.

I just discovered and purchased this book today. I was absolutely blown away by the incredible images! This book was a near religious experience for me as I kept saying, "Oh, my God" over and over again as I carefully viewed every page. I have looked at many photo books and this is the best that I have ever seen. Mr. Abell's sense of place, intuition and fantastic compositional eye are unsurpassed in creating beautiful and evocative photographs. I tend to be VERY critical of photo books and can honestly say that EVERY picture is a wonderful work of art. As a previous reviewer mentioned, theses photos are done in a very artistic "painterly" style that really affected me. One very cool feature is when he showed two photographic versions of the same scene. And, I was very pleased by the lyrical notes that Mr. Abell wrote as introductions to the book's chapters. Why this man isn't mentioned more as one of the world's greatest photographers is a real mystery to me.

There is more to taking a photography than just pointing a camera at your subject and pressing a button. In "The Life Of A Photograph", master photographer Sam Abell draws upon his more than four decades photographing for National Geographic magazine to provide aspiring photographers with an instructive, illustrated, example-filled guide to taking memorable images of landscapes, still life, street scenes, and slices of daily life. Each of the almost 200 images superbly reproduced is provided with a succinct commentary and a caption, taking the reader on a journey of instruction, inspiration, and visual wonder that will result in applicable concepts to enhanced his or her own photographic efforts regardless of their equipment choices or subject selections. As informed and informative as it is engaging and inherently fascination, "The Life Of A Photograph" is enthusiastically recommended to personal, professional, academic, and community library Photography reference collections and supplemental reading lists.

I probably will be considered a heretic in saying this, but I did find the book extremely boring and lackluster. I have 10+ years of photography experience, and I avidly study photography books (McCurry, Allard, Salgado, etc.). However, Abell's book left a lot to be desired. In fact, this is the first photo book I have bought which put me to sleep (no, I am not exaggerating). When I am looking for images, I am looking for moment, lighting and composition, and most pictures in this book lack all three of these. The pictures look so pedestrian that I was wondering if I am missing out anything which others have lauded in their reviews. From an educational standpoint too, the book hardly does any justice. To be fair, there were some pictures which were truly outstanding and I'd hang it on the wall, e.g., the cowboy from Guggenheim. All in all, if this collection represents some of Abell's best photographs, then he is probably not my kind of guy.

A well-constructed book of great photographs, as one would expect from Sam Abell. In most cases, there are two views of each subject, which is curious but fascinating. Sometimes, one view is clearly an improvement on the other, which gives some insight into the photographer's working approach. In other cases, we have two different views with no clear winner (IMHO).

Sam Abell follows up Seeing Gardens and The Photographic Life with this wonderful volume. Using images that were works in progress coupled with the "finished" photograph, Sam illuminates his thought process. He allows us to investigate his layered approach to photography while sharing a philosophy developed from his marvelously storied career. Don't miss this book.

Sam Abell continues to be one of America's finest photographers and teachers. This book filled with contemplative images and incredible moments provides unique insight into the editing and photographic creative process.

Thanks Sam, for guiding of the rest of us.

Bernard C. Meyers

This is my third Sam Abell book. I find his imagery not only inspirational but mostly timeless. His timing, wonderful compositions and great use of colour are a treat. One of the few colour photographers where you don't have to wear sun glasses to view the images. A great book.

I've found this book very inspirational. The photos don't need any more comments than they have, just a couple of words and it says eveything.
Often before taking photos by myself I open this book and adore Sam's work, it encourages me to be creative and thoughtful and passionate about photography.

Sam Abell is perhaps my favorite photographer who has worked with National Geographic. I love the reality in his photos and the effortlessness about them. This book is a beautiful and simplistic presentation of some of his best photographs. One of my favorites of his is of the Kremlin from a hotel room across the way. Until I received this book, I didn't know that the photograph was one of a series. Now I love it even more!

If you like National Geographic, photography, or Sam Abell specifically, this is a great book.