xt7ht727bk86 https://exploreuk.uky.edu/dips/xt7ht727bk86/data/mets.xml Lexington, Kentucky (Fayette County) University of Kentucky 2006 yearbooks  English University of Kentucky Contact the Special Collections Research Center for information regarding rights and use of this collection. University of Kentucky Yearbook Collection 2006 Kentuckian, Vol. 112 text 2006 Kentuckian, Vol. 112 2006 2013 true xt7ht727bk86 section xt7ht727bk86 A6
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 2006 KENTUQKIAN  

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1t°s private. ltis personal. ltis intimate. Abell believes the reason so many people buy high
But do not feel ashamed or bashful. school yearbooks is because iris common for students to
You have just opened a diary. know their classmates. But with the campus environment
Stop blushing. being much larger, it°s different. He wanted to change that.
For the first time, you are allowed to flip the pages All wanted to make a memorable and original
of a diary without checking behind you to see if the yearbook that would last and have meaning and be
writer is watching. thought-provoking and inspiring. That book was created,"
You shouldn°t feel guilty. This book — a simple, pho- Abell said. °°1 thought it was timeless, insightful and
tographic reflection of an entire year at the University of elegant and a few people thought so, too."
Kentucky — is just as much your diary as it is ours. More than just a few.
The 2006 Kentuckian is taking a 59-year step back Withiru the Lexington photo community, the book is
to a time when photojournalism thrived on UK’s legendary. For many, it has become a collectors item.
campus. This book is inspired by the work of the 1967 To me, it is an inspiration.
Kentuckian produced by Sam Abell and his staff Abell During my freshman year of college, Abell spoke to
graduated from UK in 1969 and went on to become an my class about the 1967 Kentuckian. 1 knew 1 wanted
accomplished photographer for National Geographic. to study photojournalism, but after hearing him speak, 1
(Turn to the next page to read more about him.) knew 1 really wanted my career at UK to be just like his.
The last two years have brought a revival of the Since then, 1 have followed his lead and have learned
photojournalistic spirit to UK’s campus, with nationally the joys of telling a story through visuals. ·
known photographer Dave LaBelle working to reignite During the production of this year`s book, 1
the school`s photojournalism program. The idea for this constantly looked at the 1967 Kentuckian for
retro-style book » emphasizing clean design and strong inspiration. Even after flipping through the book
photography —- was born from that spirit. lt is not seemingly a million times, 1 was amazed that with each
intended to be an exact replication ofAbell’s work, but flip of the page, 1 found something new. \`Vith each
we have tried to give our book a timeless feel, returning reading, a new photo intrigued me. I couldn`t get
to the beauty of black-and—white photography and using enough of the ink that filled the pages so well and
materials similar to those Abell used to create a book captured so beautifully UK`s campus in 1967.
that you might keep around on your coffee table. Abell made sure every page was filled with the best
Abell created UK’s only two-volume yearbook, and content because every page mattered. _
he made readers do a double-take. By creating a 1 feel the same with this book, because 1 know it is A
two-volume book, he solved his dilemma of wanting to not just another yearbook. I
create a dynamic, heavily photo-based work that still lt is a journal full of photographs taken by a talented .
contained traditional yearbook content. group of student photojournalists, reflecting two
“A lot ofpeople wondered where the yearbook was, semesters of my college career and yours as well.
it was kind ofa head-scratching moment for the lt is a photographic story about the struggles, pains,
campus,“ Abell said recently. “The Kentuckian for a year joys and journeys faced by students ofthe University of
was missing, or at least recomposed or reinvented.), Kentucky in 2005-2006.
The first volume, divided into four sections, offered Abell said the major difference between photo-
Abell°s unique take on campus life, capturing the people journalism (storytelling through photos) and fine art
and atmosphere of the university with his lens in an photography is that photojournalism gives answers and
intimate and inventive way. The second volume included art photography asks questions. r
the universitys activities, portraits and organizations. The images in this book should not leave you with
Although the 2006 Kentuckian is one volume rather questions about what happened on UK`s campus during
than two, it is rooted in the same idea that a yearbook the 2005-2006 year. Instead, it should answer questions
should be personal and intimate. about our time here many years from now. A
. nf 1
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Hilly Schiffer   .
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Ed1tor—in—Chief it _   at
amiur
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  "   I A g g e »   `   _ _   “  t  today, at right, at 7
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Du ring h is days as Kentucki an ecl ttor, Sam Abell came out gg7     
shooting. I-le s been blazing a tran I with h is camera ever st nce.  
V EdlTOI"S HOIEZ SEIU Al]Ell’S work has DEED El SOUFCE of The idea pulled Abell out ofthe darkness. He had a plan. Vc_V.
V lllS[)llElllOll to 8SQlllllQ [)llOlO]OUlDEllSlS El UK. THE l967 KElllUCl, and Abell had recently been named where he lives with his wife, Denise Myers. “lt was a very rich  
editor of Ul{`s yearbook, the Kentuckian. But the job didn`t time of devotion to photography, beliefin photography,
excite him the way he had foreseen 7 reality hir, and he knew publication of photography and conversation about photography."
` {lll]! \\’l}i`lI PCUPlL' CXPCC[CLl l`l`()I]] il yCLIl`lW()Ol{ \Vl`lSIT{ \Vl]1`lY lTC MHITY IUCITlb€I`S ofthe gI`OLlp later WCIAIC OH KO jobs at
. longed to create. metropolitan daily newspapers and won national awards, such as
"\Vhat l was interested in was progressive photography and the Pulitzer Prize. This subculture was the backbone for Abellys
a publication that was dedicated to progressive photography," he career, which started humbly on the UK campus and later took  
Stllkl. lzllll All llllll [link', IUOS[ yC1lI`lW()()l{S \VCI`C C1ll`l)()I] C()PlCS of OITC lllln [O l:£U`&1WL`ly places {IS EI phO[Ogl`L`lpl']€I' for N2`l.KlOI`lZll  {
7 another, lilletl with photographs of people in straight lines with Geographic. lt was Abell`s first photography job.  A
A plastic smiles. Abell worked for National Geographic as a staffphotographer  ‘
l le envisioned a two-volume yearbook that would incltide for 30 years, traveling across the globe from the Imperial Palace in  
the standard student portraits. but go deeper to tell the story of japan to Thomas lefliersons home in Monticello, W. The road on Q 
campus life through lively photographs. mirroring the style of the photographic life was filled with learning. As he grew as a  
il\\'Qll'¢.l-\\'lIlllllI§ lILI[lOIlL`ll Plll7llCQIl'l(`)[]S.          
Story by Jonathan Palmer A i.il
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