A Quote by Gabriel Lippmann

When the shot is afterwards subjected to white light, colour appears because of selective reflection. — © Gabriel Lippmann
When the shot is afterwards subjected to white light, colour appears because of selective reflection.
If you are representing a white body let it be surrounded by ample space, because as white has no colour of its own, it is tinged and altered in some degree by the colour of the objects surrounding it
The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.
Light in the heart has an interesting phenomenon. When you look at this world from here, now, light has shadows because light comes from a source. But, the same light inside the heart, which I've spent so much time looking at and so have other people, has no shadow because the light appears to come from everywhere.
Accurate drawing, accurate colour, is perhaps not the essential thing to aim at, because the reflection of reality in a mirror, if it could be caught, colour and all, would not be a picture at all, no more than a photograph.
Other black and white films have also been released in colour, but 'Hum Dono' is better than all of them. When you watch 'Hum Dono Rangeen,' you will feel as though it was shot in colour; you won't feel that I have got the reels painted by brush.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
The first of all simple colours is White ... We shall set down White for the representative of light, without which no colour can be seen; Yellow for the earth; Green for water; Blue for air; Red for fire; and Black for total darkness.
And light has no weight, / Yet one is lifted on its flood, /Swept high, /Running up white-golden light-shafts, /As if one were as weightless as light itself - /All gold and white and light.
I just think white light generation is just one of these remarkable things to see, and actually, you know, one colour of light goes in to just water or any clear anything and out comes all the colours of the rainbow when the pulses are short and intense enough.
Because I was assigned female at birth and I am light-skinned, white, I think people hear my message more than they hear it from someone who was assigned male at birth and is a person of colour.
You know, I always say white is not a colour, white is an attitude, and if you haven't got trillions of dollars in the bank that you don't need, you can't be white.
I learned from Seurat this important thing about colour and light, that 'a light' can be built from colour. I learned a great deal about interaction, that 'a blue' in different parts will play all sorts of different roles.
We see in colour all the time. Everything around us is in colour. Black and white is therefore immediately an interpretation of the world, rather than a copy.
I don't have anything against colour. It is just not my first preference. I have always found black and white photographs to be quieter and more mysterious than those made in colour.
...I see that White Light will only return to the planet when every human being recognizes every other human being as an individualized frequency of the White Light. As long as we keep eliminating or devaluing other human beings we have decided we don't like, ie., destroying frequencies of the spectrum, we will not be able to experience the White Light. Our job is to protect and nurture each human frequency so that the White Light can return.
I called record Prism because I actually finally let the light in and then I was able to create all these songs that were inspired by letting the Light in and doing some self-reflection and just kind of working on myself.
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