A Quote by Yukio Mishima

This is a photograph, so it is as you see: there are no lies and no deceptions. One can detect here, elevated to an incomparably higher level, the same pathetic emotional appeal that lies concealed in every fake spiritualist photograph, every pornographic photograph; one comes to suspect that the strange, disturbing emotional appeal of the photographic art consists solely in that same repeated refrain: this is a true ghost... this is a photograph, so it is as you see: there are no lies, no deceptions.
Every photograph is a fiction with pretensions to truth. Despite everything that we have been inculcated, all that we believe, photography always lies; it lies instinctively, lies because its nature does not allow it to do anything else.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
If you could see a photograph of what it took to make an advertising photograph - things you don't think about, like the photo assistant carefully arranging the meatballs - the degree of unnaturalness would be astonishing. Yet it produces an image that looks natural, and is orchestrated to provoke basic emotional responses.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
You can talk about a caption underneath a photograph being true or false, because there is a linguistic element. You can claim that a photograph is a picture of a horse or a cow, but it is the sentence that expresses the claim, which is true or false, not the photograph.
What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
I never look for a photograph. The photograph finds me and says, I'm here! and I say, Yes, I see you. I hear you.
Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.
A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory. These contradictions both hide and increase the natural ambiguity of the photographic image.
To go and photograph an airbase is not only to photograph something but it is to insist on one’s right to photograph. You’re flexing that right.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
At the end of the day, it's only a photograph and if someone is going to get really upset about a photograph, then they have a lot of issues. I just roll with it and see what happens.
The typical nature photograph shows a butterfly on a pretty flower. The conservation photograph shows the same thing, but with a bulldozer coming at it in the background.
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