Best 19 quotes of Michael Light on MyQuotes

... anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth.

Even in this age of digital manipulation, photographs continue to hold a huge degree of power and meaning. They're beautiful and sad and complicated because every stoppage of time refers to the motion of time.

Flying was certainly formative for me; I have a deep and lasting ease with it as a result.

I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don't fabricate worlds; I pay attention to the things that already surround us.

I come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don't work as pictures.

I don't particularly care about photographic authorship. Whether an astronaut who doesn't even have a viewfinder makes an image, a robotic camera, a military photographer, or Mike Light really doesn't matter. What matters is the context of the final photograph and the meaning it generates within that context.

I have a profound passion for the act of flying. It's very freeing, with an intense physicality, but it also gives an Olympian, god's-eye view, which fuels a larger cerebral and structural analysis.

I love idyllic places and the kind of suspension of history they offer. But noble beauty is not enough. One must complicate the picture, because there's nowhere to "escape" to on the planet in pursuit of a hermetic pastoralism or a redemptive wilderness sublime.

I'm attracted to the garden, without a doubt, but I always try and image the wolf that's there, too. And that wolf would be us. It's not that we're malevolent or evil - we're marvelous, fantastic, tool-bearing beings and capable of so much - but there are so many of us, and we don't tend to take responsibility for what we do.

I realized that if I wanted to truly talk about vastness and the sublime and scale and the West - recurrent themes in my overall work - I needed to engage with the vast ocean that is Los Angeles.

I struggle against photography. I struggle against the fact that it is silent, that it is just a piece of paper on the wall, often presented in a tedious white matt frame.

I take pleasure in working with the non-art photographs that reside in public archives, essentially authorless and owned by the world itself, because I find the world of fine art photography to be pretty silly and pretentious.

I've always been amazed at the vastness of America itself and what it does and how it does it. I'm interested in the mechanics of what makes this country happen, the power structures, the natural splendor.

I was flying planes before I was driving cars. I started gliding when I was fourteen, about when I started photographing. I was a geeky kid, and the camera was a way in high school for me to have some power. Flying was, too, I guess.

Once one crosses a conceptual threshold of rethinking what nature might or might not be, it can multiply outward radically. The world becomes a more interesting place to be, and one is perhaps somewhat less judgmental.

The representational-image urge is actually a kind of heightened perception, and I don't stop to think. I don't freeze up - it's actually a kind of letting-go. It's like dancing. At a certain point it's conscious, unconscious, everything is kind of coming together.

We have not only the right, but a specific duty, to honestly and unflinchingly look at all aspects of our world, both the one we create as humans and the one we are lucky enough to inhabit as a species.

What better way to actually deal with L.A. than to get above it and engage with the horizontality and scale of the basin itself?

When I go up, especially if I'm paying for a small helicopter and pilot, I'm on. I've got an hour and a half and the clock is ticking and it's costly and I enter into a super-heightened state of mind.