A Quote by Walead Beshty

[X-ray's] accidental discovery in the late 1800s fits seamlessly into modernity's fascination with, and belief in, the power of technological transparency: the desire to domesticate time (cinema), to preserve and capture the surface of the fleeting (photography), to see inside (x-ray).
For me photography was the means to the end, but they made it the most important thing. (On the discovery of X-ray photography.)
The Blu-ray is the real cinematech of world cinema. That's how it's being preserved. All of these guys that are trying to preserve 35mm negatives? They are wasting their time. There are better ways to see and project this stuff. It's called digital.
The present rate of progress [in X-ray crystallography] is determined, not so much by the lack of problems to investigate or the limited power of X-ray analysis, as by the restricted number of investigators who have had a training in the technique of the new science, and by the time it naturally takes for its scientific and technical importance to become widely appreciated.
On 'Arrow,' we have Ray Palmer and Roy Harper, and if you call Roy 'Ray' and Ray 'Roy,' you have to put money into the jar.
Now everybody let me hear you say 'Ray Ray Ray'. Now spend all your money cause they pay pay pay.
When I say I can see through clothes, sometimes I try to use it as an X-ray vision to look into the dancer and see who this dancer is right now, at this exact moment in time. I live inside them in a way.
To speak technically photography is the art of writing with light. But if I want to think about it more philosophically, I can say that photography is the art of writing with time. When you capture an image you capture not only a piece of space, you also capture a piece of time. So you have this piece of specific time in your square or rectangle. In that sense I find that photography has more to do with time than with light.
I loved Ray from 'The Princess and the Frog.' He was my guy. There was no Ray before me, so there's a level of satisfaction there.
I would've given my right arm to do something on the 'Ray' film, the movie about Ray Charles.
Someone once said there was a comparison between Sugar Ray Leonard and Sugar Ray Robinson. Believe me, there's no comparison. Sugar Ray Robinson was the greatest.
For my money, Ray Brown is the greatest living bass player. Every great thing that's happened on bass since Ray Brown -- all of us point back to him. That's where it started, you know. Ray Brown is definitely a walking master, and to get to play with him is obviously an opportunity that no one should ever pass up.
He was doing - Ray was designing the clothes for my mom's show from California. And one of the first appearances I ever made on television was on my mother's show and Ray and Bob did the clothes for that. It has been a long time.
In 1978 I decided not to work with Man Ray as an act of self-discipline. I didn't want to rely on him. Man Ray hated not working, though. He would come into my studio, see me drawing or working on photographs, and just slump down at my feet with a big sigh. Fortunately for both of us the year ended. Polaroid had invented a new camera, the twenty-by-twenty-four, and I was invited to Cambridge, Mass., to experiment with it. Naturally, I took Man Ray and we were working again.
The three toughest fighters I ever fought were Sugar Ray Robinson, Sugar Ray Robinson and Sugar Ray Robinson. I fought Sugar so many times, I'm surprised I'm not diabetic.
Ray Lewis, I've grown up watching Ray Lewis. Just watching his intensity, his passion for the game, his love for the game, his work ethic. Everything in a linebacker that you want to be is in Ray Lewis, from leadership qualities, all that.
Photography is like a found object. A photographer never makes an actual subject; they just steal the image from the world... Photography is a system of saving memories. It's a time machine, in a way, to preserve the memory, to preserve time.
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