A Quote by Duane Michals

A photograph of a woman crying tells me nothing about grief. Or a photograph of a woman ecstatic tells me nothing about ecstasy. What is the nature of these emotions? The problem with photography is that it only deals with appearances.
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.
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 I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
What I'm trying to say is: it gets boring when nothing meaningful is discussed about it. It's the same thing when a woman poet writes about suffering - it's a "woman's tendency to depression and grief." It's not a human, universal tackling of something that exists in all of us. It's suddenly a "woman issue."
There's nothing you can tell me that will change how I feel about you. Nothing. Because that isn't you. It's never been you. You're the woman I've come to know. The woman I love.
Today a lot of things are so celebrity-oriented; it's only because it's celebrity and the photograph is lost. To me it's important to have an image that is a photograph first, not about necessarily who that person is.
Of course, if you photograph the behavior of women and men at a particular time in history, in a particular situation, you will capture differences. But the error lies in inferring that a snapshot is a lasting picture. What women and men do at a moment in time tells us nothing about what women and men are in some unvarying sense - or about what they can be.
Photography deals exquisitely with appearances, but nothing is what it appears to be.
Yet it seems so easy to take a photograph! One forgets that, apart from the technical aspects, photography can be a mental creation and the affirmation of a personality. What is marvelous about a photograph is that its possibilities are infinite; there aren't any subjects 'done to death'.
I have never seen a picture of my mother. My mother's family never owned a photograph of her, which tells you everything you need to know about where I'm from and what the world was like for the people who gave me life.
The first photograph I ever experienced consciously is a picture of my mother from before she gave birth to me. Unfortunately, it's a black-and-white photograph, which means that many of the details have been lost, turning into nothing but gray shapes.
A photograph has no value unless it looks exactly like a photograph and nothing else.
When a woman tells me she loves my dresses. These women have nothing to gain to tell you that they love your dresses. A lot of professional women admit dressing for work previously was such a challenge. It's these moments for me that are so rewarding.
A photograph is a secret about a secret. The more it tells you the less you know.
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.
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