A Quote by Michael Kenna

There is no one way of photographing anything. I don't believe there is even one best way of photographing any given subject. — © Michael Kenna
There is no one way of photographing anything. I don't believe there is even one best way of photographing any given subject.
People aren’t photographing for history any more. It’s for immediate gratification. If you’re photographing to share an image, you’re not photographing to keep it.
I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.
I think the best pictures are often on the edges of any situation, I don't find photographing the situation nearly as interesting as photographing the edges.
I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.
I never stopped photographing. There were a couple of years when I didn't have a darkroom, but that didn't stop me from photographing.
When you're photographing anything to do with war and conflict you're photographing something impossible. Everything you do is just clumsy and stupid and half witted. Because it is impossible to portray the full width and breadth of everything that you are up against.
I don't believe a person has a style. What people have is a way of photographing what is inside them. What is there comes out.
My way of photographing is my way of life. I photograph from my experience, my way of seeing things.
Snapshots that have been taken of me working show something I was not aware of at all, that over and over again I'm holding my own body or my own hands exactly like the person I'm photographing. I never knew I did that, and obviously what I'm doing is trying to feel, actually physically feel, the way he or she feels at the moment I'm photographing them in order to deepen the sense of connection.
It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morroco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.
Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing.
When I'm photographing, I don't have that kind of nonsense running around in my head. I'm photographing. It's irrelevant in the end, so it doesn't mean a thing. It's not going to make me do better work or worse work as I can see it now.
I hate having my photograph taken and I try to keep that in mind when I'm photographing other people. But the best photos that I've taken are the ones when people have forgotten that I'm there. If I'm in a recording studio with a musician, for example, maybe I'm not photographing them in the middle of a take but I can just get that stolen moment of them resting and they glance over to me.
It's impossible for me to go into a room or look at a location without a part of my brain photographing it - picking the best angle or looking at the way the light hits.
I never knew [Alfred Stieglitz] to make a trip anywhere to photograph. His eye was in him, and he used it on anything that was nearby. Maybe that way he was always photographing himself.
Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it with my Instamatic 400 was like photographing a photograph. The sun became a monstrous light-bulb that projected a detached series of stills through my Instamatic into my eye.
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