Michael Light
[Photographer, b. 1963, Florida, lives in San Francisco.]

 ... anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth. 
 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. 
 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. 
 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. 
 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 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 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 come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don’t work as pictures. 
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