A Quote by James Elkins
All seeing, I think, is painful. Every photograph is a little sting, a hurt inflicted in its subject, but even more: every glance hurts in some way, freezing and condensing what's seen into something that it is not.
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I glance into the faces of all these people out for a Sunday stroll, but I'm not seeing eyes and noses and mouths. I'm seeing stories. Every person has a story. All the hopes and dreams. And fears. And secrets. In every face.
Everything he had ever done that had been better left undone. Every lie he had told — told to himself, or told to others. Every little hurt, and all the great hurts. Each one was pulled out of him, detail by detail, inch by inch. The demon stripped away the cover of forgetfulness, stripped everything down to truth, and it hurt more than anything.
I do tend to look at my books in many ways as conceptual fiction, even to the point where I think the author's photograph is part of the package. And I have gone out of my way to select the photograph to connect to the subject matter of each book.
Every now and then go away, have a little relaxation, for when you come back to your work your judgment will be surer. Go some distance away because then the work appears smaller and more of it can be taken in at a glance and a lack of harmony and proportion is more readily seen.
The reason everybody is so amazed and enamored with me right now is because I have worked every angle, I have worked every formula, I have worked every equation, I have seen every club, I have seen every performance, I have seen every joke, I have studied, I have done my job. That's why I'm good. It's not because I got up one night and decided I wanted to tell some f - -ing jokes.
Let's just say it and be done with it. Racing hurts. But here's another truth: having put in the effort to prepare for a race and then not giving it your all hurts even more. The first kind of hurt goes away in hours or a day. The second kind of hurt can last a lifetime.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
Sin aims always at the utmost; every time it rises up to tempt or entice, if it has its own way it will go out to the utmost sin in that kind. Every unclean thought or glance would be adultery if it could, every thought of unbelief would be atheism if allowed to develop. Every rise of lust, if it has its way reaches the height of villainy; it is like the grave that is never satisfied. The deceitfulness of sin is seen in that it is modest in its first proposals but when it prevails it hardens men’s hearts, and brings them to ruin.
And yes, I'll admit, I am jealous. I'm jealous of every minute you spend with him, of every concerned expression you send his way, of every tear shed, of every glance, every touch, and every thought. I want to rip him to pieces and purge him from your mind and from your heart. But I can't.
It hurts to imagine stuff. It can give you a headache. Probably doesn't hurt physically, but it hurts mentally. But the more that you can do it, the more you're able to get out of it. Everybody has that capacity, but I don't think everyone develops it.
Everybody has the clarity of telling I haven't seen a player like Lionel Messi, and I am fortunate for training and seeing him every day at the training field. And even sometimes he surprises you with some good performances. There is not comparison with other players I have seen along my life. He is unique.
Composition in photography is almost as varied as composition in music or words -- melodic or atonal, safe or daring -- and can enhance subject, theme, and style. Every photograph you take involves you in some compositional decision, even if this is simply where to set up the camera or when to press the button.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
In a sense, every work you do is a self-portrait because your paintings always reveal more about you than about your subject. Your experience of something, not the something itself, is the true underlying subject of every work you do.
There's no way to oversell how spectacular and incredible seeing a total eclipse is. A lot of people think they've seen an eclipse. They think they've seen a partial solar eclipse - even if they've seen a 99 percent partial, it pales in comparison to seeing a complete, 100 percent total eclipse of the sun.
You know, failure hurts. Any kind of failure stings. If you live in the sting, you will - undoubtedly - fail. My way of getting past the sting is to say no, I'm just not going to let this get me down.
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