"People often ask me why I was the person who came into photography and took away from it not that I was reproducing reality as found on the street, but I was going into another kind of reality," says Michals. "When I came on the scene as a photographer in the early 1960's, to be a photographer meant you could be Ansel Adams or Garry Winogrand or Robert Frank or Bresson, but my whole mental fix, the way I viewed life was really quite different than looking at life." For Michals, that different view was fueled by an insatiable curiosity, that was not limited to people, places or things, but was much broader--pondering the very nature of existence.

3. Magritte 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Rather than describe the outward realities that have so long fascinated photographers, Michals has turned the camera and his vision inward - confronting and attempting to describe the intangible landscapes of his own emotions, fears, dreams and desires.