A Quote by Duane Michals

Taking the photograph is the easiest part for me — © Duane Michals
Taking the photograph is the easiest part for me
I'm pretty open. I'm not afraid of men. I'm not afraid of women. I'm not afraid of sex and sexuality. It's part of me, and it comes out in the photograph. It's as if at that moment when I'm taking pictures, I'm not a man and I'm not a woman. If I see a moment that seems true to me, that seems honest, whether it's female or male, it's part of me as well.
Sometimes you feel uncomfortable taking a photograph, but that's all part of the job.
[When] I am taking a photograph, I am conscious that I am constructing images rather than taking snapshots. Since I do not take rapid photographs it is in this respect like a painting which takes a long time where you are very aware of what you are doing in the process. Exposure is only the final act of making the image as a photograph.
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.
What comes easiest for me is dialogue. Sometimes when my characters are speaking to me, I have to slow them down so that I'm not simply taking dictation.
I don't really remember the day when I stood behind my camera with Henry Kissinger on the other side. I am sure he doesn't remember it either. But this photograph is here now to prove that no amount of kindness on my part could make this photograph mean exactly what he.. or even I.. wanted it to mean. It's a reminder of the wonder and terror that is a photograph.
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.
The changes taking place in this part of Europe are enormous and very rapid. One world is disappearing. I am trying to photograph what's left. I have always been drawn to what is ending, what will soon no longer exist.
If I knew what the photograph was going to look like, I wouldn't bother taking it. It's the voyage of discovery that fascinates me.
In music you have people exposing this very vulnerable part of themselves, and you also have the lifestyle is so fast that oftentimes people search for whatever the easiest way to feel relaxed in the midst of all of it, or the easiest way to have energy.
I do tend to look at my books in many ways as conceptual fiction, even to the point where I think the author's photograph is part of the package. And I have gone out of my way to select the photograph to connect to the subject matter of each book.
When you photograph people in color you photograph their clothes. When you photograph people in black and white, you photograph their soul!
I think I am most fond of the unseen part. I mean that the various cultural experiences that I go through, and the behavioral aspects of getting the work done, are just as important as the installation and the photograph. So, for me, the relationship between the two is more about hybridism and the search for an ideal form that I'm never going to arrive at. The installation and the photograph are mere approximations of this ideal.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
I love writing openings, and I think that can give me the key to the movie. So somehow, that can be the easiest part, to be honest.
Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
This site uses cookies to ensure you get the best experience. More info...
Got it!