A Quote by Michael Light

I come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don't work as pictures. — © Michael Light
I come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don't work as pictures.
Artists are interested in pictures as sources of ideas for their work. Where the pictures come from and how they are made is of little concern to them.
Anything that looks like an idea is probably just something that has accumulated, like dust. It looks like I have ideas because I do books that are all on the same subject. That is just because the pictures have piled up on that subject. Finally I realize that I am really interested in it. The pictures make me realize that I am interested in something.
What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.
In the absence of a subject with which you are passionately involved, and without the excitement that drives you to grasp it and exhaust it, you may take some beautiful pictures, but not a photographic oeuvre.
Pictures often sit inside of pictures, but the edges of pictures and objects are rarely subjected to serious challenge; we are presented with distinct, whole pictures and objects.
I collected pictures and I drew pictures and I looked at the pictures by myself. And because no one else ever saw them, the pictures were perfect and true. They were alive.
The pictures feel as essential to me as the text. I was always interested in including pictures with writing.
I'm aware of other artists, but what I'm really most interested in is viewing individual pictures. I like dramatic pictures.
I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience. With these abstract pictures, although the eye recognizes them as photographic rather than painted, the eye also tries to connect them to reality. There's always this association machine working in the brain, and that is why it is important to me that they are actually photographic and not painted.
It would be so easy to lose the plot now. It's not about achieving something for its own sake, and taking pictures for their own sake. But to make conscious decisions and choices, and it includes this constant questioning - Why am I taking pictures? Because really, the world is... it has pictures enough. I mean, there are enough pictures out there.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
There's this thing that publishes pictures of people out and about. So when I go out, I do see pictures of myself. I don't know where those pictures come from - I mean, I don't see the cameras. But I guess I'm just not looking for them.
On things she had to pack before leaving her home in advance of a forest fire, 1996. Childhood pictures and pictures of my life. Do you know how many pictures that is? Not just this life; I have pictures from 13,000 lives.
All I know for sure is that dreams are the pictures of states wanting to turn into processes. Dreams are maps of the beginning of an otherwise unchartered trip into the unknown. They are pictures of the unknown which appear in many channels. Because process work is body-oriented, I put a stress upon feelings, but dreams are not pictures of just feelings; they are pictures of the way the unknown is showing itself in a given moment.
A photographic session is a joint, interpersonal exchange, a kind of creative encounter session at a high level of intensity. For me, photography is more a process of creating an experience than one of looking for pictures.
When I think of high school, stills are so important: it's all about the wallet with the kids - they define themselves with pictures, who they know, whose pictures they have. Yearbook pictures.
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