Sam Abell, Artist.

Photo by Steve Vega

One of the first photographs I remember of Sam Abell's was a window view of the Kremlin. A breezy lace curtain and several yellow pears resting on the windowsill complete the image. Like much of his work, it is deceptively complex. Has many layers.

Another, perhaps one of his most appreciated and celebrated photographs, records a group of cowboys branding and castrating cattle. In the foreground a man in a felt Stetson with a knife in his mouth and blood stained fingers. Middle ground, two cowpokes wrestle a small steer to the ground. And further into the photograph, perfectly framed by these two men, is another ranch hand on horse back. The finishing touch is on the right hand side of the photo. A small, red bucket carried by an anonymous hand adding a splash of color in an otherwise monochrome scene. Everything fits. No extraneous elements.

Catching this deeply layered, complex image while the chaos of the event was unfolding certainly benefits from a little luck... but as the saying goes, "Chance favors the prepared mind." Sam Abell's mind was prepared. He worked the scene over. He didn't stop when he thought he had enough. He moved a little this way, a little that way. He kept looking for the image. And he found it... and it found him.

My approach to photography changed a great deal after discovering the work of this master. His influence is immeasurable. He doesn't know it, but I am deeply indebted to him.

The man is a true artist.

Taking advantage of all available light.

Photography is about light. And there is great light all around.

For most of his career National Geographic photographer Sam Abell (look him up) never used a flash. He used the existing light in creative and unique ways. He really saw light.

Whenever possible I try to work creatively with existing light. Here's a recent portrait I did of my niece Jodi.

(She's doing her best impression of a scary zombie in her Grandpa's attic!) Anyway, what you'll notice is two different light sources. One slightly behind her on her right (my left) and one almost directly in front of her.

The light behind her is overcast daylight from a garret window and it acts as a sort of hairlight, creates a nice hi-light and helps separate her from the background. The light in front of her is from a window as well but there is a big tree with yellow leaves out this window and they act as a reflector, casting that nice warm glow on her face. I also positioned her in such a way that the window acts as a catchlight in her eyes (portraits without a catchlight tend to look lifeless). Lastly, she is turned ever so slightly so there is a little shadow on her face, this adds depth.

Of course, this exact look could be reproduce with several strobes and some gels in a studio, but lighting opportunities not dissimilar to this are all around. Just gotta look for them!

Give it a go.