A Quote by Leonardo da Vinci
When the sun is covered by clouds, objects are less conspicuous, because there is little difference between the light and shade of the trees and the buildings being illuminated by the brightness of the atmosphere which surrounds the objects in such a way that the shadows are few, and these few fade away so that their outline is lost in haze.
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A single and distinct luminous body causes stronger relief in the objects than a diffused light; as may be seen by comparing one side of a landscape illuminated by the sun, and one overshadowed by clouds, and illuminated only by the diffused light of the atmosphere.
If you are in the country, you should notice landmarks - that is, objects which help you to find your way or prevent you getting lost, such as distant hills, church towers, and nearer objects, such as peculiar buildings, trees, gates, rocks, etc.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
The sun doesn't lose its beauty when covered by the clouds. The same way your beauty doesn't fade when being covered by Hijab
We believe that every being is divine, is God. Every soul is a sun covered over with clouds of ignorance; the difference between soul and soul is owing to the difference in density of these layers of clouds.
When you have a brilliant sun, which is a source of vision, the light from the sun shines through every window of the house, and the brightness of its light inspires you to open all the curtains. In the vision of the Great Eastern Sun, no human being is a lost cause.
In true meditation the emphasis is on being awareness; not on being aware of objects, but on resting as primordial awareness itself. Primordial awareness is the source in which all objects arise and subside. As you gently relax into awareness, into listening, the mind's compulsive contraction around objects will fade. Awareness naturally returns to its non-state of absolute unmanifest potential, the silent abyss beyond all knowing.
And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves, then he will gaze upon the light of the moon and the stars and the spangled heaven...Last of all he will be able to see the sun.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
There are three aspects to perspective. The first has to do with how the size of objects seems to diminish according to distance: the second, the manner in which colors change the farther away they are from the eye; the third defines how objects ought to be finished less carefully the farther away they are.
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.
This is the day of wonders. The land is covered with trees like a head with hair and behind the ship the sun rises tipping the top trees with light. The sky is clear and shining as a china plate and the water playfully ruffled with wind. Every wisp of fog is gone and the air is full of the resinous smell of the trees. Seabirds are flashing above the sails golden like creatures from Heaven, but the sailors raise a few shots to keep them from the rigging.
Then they grow away from the earth then they grow away from the sun then they grow away from the plants and the animals. They see no life. When they look they see only objects. The world is a dead thing for them the trees and the rivers are not alive. the mountains and stones are not alive. The deer and bear are objects. They see no life. They fear. They fear the world. They destroy what they fear. They fear themselves.
The way that light hits objects in life, three-dimensional objects before you photograph them, is really the story of photography.
The camera machine cannot evade the objects which are in front of it. When the photographer selects this movement, the light, the objects, he must be true to them. If he includes in his space a strip of grass, it must be felt as the living differentiated thing it is and so recorded. It must take its proper but no less important place as a shape and a texture in relationship to the mountain tree or what not, which are included.
Inspiration is that state in which mind and heart are connected. When you feel inspired you find yourself thrust into a world where ordinary objects and events are full of light, as if illuminated from within. This inner light is truth, and when you suddenly see the truth, we gain insight, clarity, and joy.
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