Ishiuchi Miyako
[Photographer, b. 1947, Gunma Prefecture, Japan, lives in Tokyo.]

 I cannot stop [taking photographs of scars] because they are so much like a photograph… They are visible events, recorded in the past. Both the scars and the photographs are the manifestation of sorrow for the many things which cannot be retrieved... 
 I failed a lot. Failing is so important. It’s been such a plus for me, never having been taught photography. 
 The natural choice is to photograph what you like. I chose what I hated. 
 One must be a bit cold to be the one taking photos. 
 I am not photographing the past, I am taking the present moment, the time of the now, when these remnants are here, together with me. 
 It’s very difficult for me to take pictures from the perspective of the viewer. I can only be the one providing the photographs. 
 I can’t photograph the past. I can only photograph what happens in the moment I encounter this particular object, my most personal reactions, what I feel and see. (On photographing the clothing of Hiroshima atomic bomb victims) 
 …I have always thought that the darkroom is such a sexual place. Its smell is so strong. And if you do it with bare hands, it’s like you’re having sex. Photography has that quality; it engages the five senses. It possesses something like sexuality. 
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