A Quote by Jim Lovell

The moon is essentially gray, no color; looks like plaster of Paris or sort of a grayish beach sand. — © Jim Lovell
The moon is essentially gray, no color; looks like plaster of Paris or sort of a grayish beach sand.
The Moon is essentially gray - no color - looks like plaster of paris - soft of gray sand.
To a person who expects every desert to be barren sand dunes, the Sonoran must come as a surprise. Not only are there no dunes, there's no sand. At least not the sort of sand you find at the beach. The ground does have a sandy color to it, or gray, but your feet won't sink in. It's hard, as if it's been tamped. And pebbly. And glinting with -- what else -- mica.
The moon is bland in color. I call it shades of gray. You know, the only color we see is what we bring or the Earth, which is looking down upon us all the time. And to find orange soil on the moon was a surprise.
Gray goes with gold. Gray goes with all colors. I've done gray-and-red paintings, and gray and orange go so well together. It takes a long time to make gray because gray has a little bit of color in it.
Not gray, exactly. Right before the sun rises there's a moment when the whole sky goes this pale nothing color-not really gray but sort of, or sort of white, and I've always really liked it because it reminds me of waiting for something good to happen.
I've tried doing so, for it was never my intention to paint only with gray. But in the course of my work I have eliminated one color after another, and what has remained is gray, gray, gray!
During one new moon at perigee, I stood on high ground, watching salt ponds overflow, cover the beach, and meet the ocean. Because the moon was invisible, the water was black as it drowned the sand, and the event felt primal - which in fact it was, because it was nature.
The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.
Port Talbot is a steel town, where everything is covered with gray iron ore dust. Even the beach is completely littered with dust, it's just black. The sun was setting, and it was quite beautiful. The contrast was extraordinary, I had this image of a guy sitting there on this dingy beach with a portable radio, tuning in these strange Latin escapist songs like 'Brazil.' The music transported him somehow and made his world less gray.
The world is a grain of sand on the beach of Eternity. Eternity is a grain of sand on the beach of Infinity. The ocean of Nirvana connects both Eternity and Infinity without connecting them. Know this and you will be free.
I'm trying to give people an idea of what black looks like and what white looks like before I introduce them to gray.
My first feeling was a wild desire to drive a stake in the sand and claim the place for myself. The beach was white as salt, and cut off from the world by a ring of steep hills that faced the sea. We were on the edge of a large bay and the water was that clear, turquoise color that you get with a white sand bottom. I had never seen such a place. I wanted to take off all my clothes and never wear them again.
If I see everything in gray, and in gray all the colors which I experience and which I would like to reproduce, then why should I use any other color?
I'll be gray by the time I'm 30, but I like my hair. It looks shiny. I like the way it looks when those highlights are picked up on camera.
The harvest moon has no innocence, like the slim quarter moon of a spring twilight, nor has it the silver penny brilliance of the moon that looks down upon the resorts of summer time. Wise, ripe, and portly, like an old Bacchus, it waxes night after night.
Every time I look down on this timeless town Whether blue or gray be her skies. Whether loud be her cheers or soft be her tears, More and more do I realize: I love Paris in the springtime. I love Paris in the fall. I love Paris in the winter when it drizzles, I love Paris in the summer when it sizzles. I love Paris every moment, Every moment of the year. I love Paris, why, oh why do I love Paris? Because my love is near.
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