A Quote by Frederick Lenz
Illusions are shadows moving endlessly across the ground. The shadows are quite real but they're shadows. They have very little substance.
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Men throw huge shadows on the lawn, don't they? Then, all their lives, they try to run to fit the shadows. But the shadows are always longer.
What the art historians had forgotten is that in Chinese, Japanese, Persian, and Indian art, they never painted shadows. Why did they paint shadows in European art? Shadows are because of optics. Optics need shadows and strong light. Strong light makes the deepest shadows. It took me a few years to realize fully that the art historians didn't grasp that. There are a lot of interesting new things, ideas, pictures.
Shadows sometimes people don't see shadows. The Chinese of course never paint them in pictures, oriental art never deals with shadow. But I noticed these shadows and I knew it meant it was sunny.
The shadows in the early morning don't tell much. The shadows rest at that time. So it's useless to gaze very early in the day. Around six in the morning the shadows wake up, and they are best around five in the afternoon. Then they are fully awake.
Thin clouds form, and the shadows lengthen out. They have no breadth, as summer shadows have; there are no leaves on the trees or fat clouds in the sky to make them thick. They are gaunt, mean shadows that bite the ground like teeth. As the sun nears the horizon, its benevolent yellow begins to deepen, to become infected, until it glares an angry inflamed orange. It throws a variegated glow over the horizon.
When autumn shadows throw their patterns across the land, they are not the images of fragile, dying leaves, not the bared arms of lofty elms, not shadows of a fading summer; but swinging shapes as of books upon a strap, of round and square boxes held under an arm, of hurrying little people heading towards the nearest school.
I always choose strong, direct backlighting that creates patterns of intricate abstract shadows. These shadows become strong design elements that lie across and touch other objects in the set up.
John [Cassavetes] had shot a great deal of Shadows and I had to go fulfill my contract in California, so he and all the rest of the Shadows cast came out to California and they finished it off and he cut it. He turned the garage into an editing room and he was by then a director of Shadows. That's the only thing he'd directed. But, he loved it.
Obscure shadows on the mind are much scarier than the dark shadows of the night.
The thing about shadows is that they're not all darkness. You need to have light to have shadows. So just look for it.
Many men spend their lives in gazing at their own shadows, and so dwindle away into shadows thereof.
Don't make friends with shadows; because shadows cannot smile!
Those powers that control the tent are not threatened at all by any activity that you engage in, in the shadows, that's not moving toward the tent. And I am rather convinced that we have a generation that is so preoccupied with life in the shadows, they never even focus on getting to the sunlight where you open up the big tent.
Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows.
There is no life and there is no death. Life and death are moving shadows cast upon the ground by clouds that sweep across the sky.
The Stormlight rising from his exposed skin was enough to illuminate the chasm, and it cast shadows on the walls as he ran. Those seemed to become figures, crafted by the bones and branches stretching from the heaps on the ground. Bodies and souls. His movement made the shadows twist, as if turning to regard him.
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