Michals’ photographic alchemy: unearthing a storyteller’s secret
Duane Michals, the quietly revolutionary photographer who blurred the lines between image and narrative, has died at 94, leaving behind a body of work that fundamentally altered how we experience photography. But to truly understand his process, as former model Chris Royer explains, you need to grasp the concept of ‘kinscvadászat’ – a Hungarian term for ‘treasure hunt’ – a deliberate pursuit of unexpected truths within each carefully constructed story.
A journey of discovery
Michals wasn’t interested in simply capturing a moment; he was obsessed with crafting experiences. As he himself described, each project was a “trip,” a deliberate excavation of ideas and emotions. He’d meticulously plan each shot, not to achieve a polished, conventional result, but to ignite a chain reaction of discovery.
Born in Pennsylvania in 1932, Michals’ artistic trajectory began with a youthful fascination with watercolor. A 1958 trip to the Soviet Union ignited a passion for photography, abandoning his initial aspirations as a graphic designer. This pivotal moment shifted his focus entirely, leading him to explore the profound potential of the medium to tell stories – stories layered with text, reflection, and a unique, deeply personal perspective.
The condé nast years & a new voice
His work quickly garnered attention, landing him assignments with Condé Nast titles like Mademoiselle and Vogue. Remembering the 1976 spring collection shoot at Vogue, Royer highlights Michals’ radical approach: “shooting the models as ‘working women,’ and what better place to do it than in the Vogue art department planning room?” The resulting images, featuring models like Gunilla Lindblad and Lisa Cooper, aren’t conventional fashion spreads; they’re intimate glimpses into the creative process, capturing the energy and collaboration within the magazine’s bustling headquarters.
Michals’ innovative techniques – using his own reflection in photographs, incorporating text as a crucial storytelling element, and constructing elaborate sequences of images – earned him the moniker “the father of the photographic narrative sequence” from critic Philip Gefter. He wasn’t simply documenting; he was actively shaping the viewer’s experience, inviting them to participate in the unfolding story.
From portraits of Johnny Cash – a striking image featuring Cash’s reflection as a key element – to capturing the behind-the-scenes moments of Robert Redford and Mia Farrow on set, Michals consistently sought to reveal the unseen, to expose the emotional core of his subjects. His work during the 1970s and 80s at Vogue showcased a remarkable versatility, embracing fashion, reportage, and portraiture with equal skill and a distinctive, almost unsettling, honesty. He wasn’t afraid to challenge conventional photographic norms, and his legacy continues to inspire artists to embrace the power of storytelling through image.
Key Images from the Vogue Shoot: Royer’s recollections detail photographs of models reviewing transparencies in the Vogue planning room, alongside shots of Melanie Cain, Beverly Johnson, and Pat Cleveland showcasing collections by John Anthony, Geoffrey Beene, and Valentino. His work with the San Francisco Ballet and Elsa Peretti further demonstrates his eclectic interests and his ability to capture fleeting moments of beauty and creativity. Christiaan, a hair stylist on some of these shoots, recalls Michals’ “somewhat demure with a friendly determination” approach, orchestrating the entire set with a quiet, yet powerful, authority.