A Quote by Vilmos Zsigmond
I like to say that lighting is about taking the light away. I often like to use the shadows more than the light.
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Like wind-- In it, with it, of it. Of it just like a sail, so light and strong that, even when it is bent flat, it gathers all the power of the wind without hampering its course. Like light-- In light, lit through by light, transformed into light. Like the lens which disappears in the light it focuses. Like wind. Like light. Just this--on these expanses, on these heights.
As each one of us awakens, it is like a light going on, followed by another light, another light, and another light. The darkness of human unconsciousness is slowly, gradually and gently lit, until there comes a day when there is more light than dark, more consciousness than unconsciousness , more joy than pain, ...more truth than illusion. That would indeed be a day for celebration.
For human words are like shadows, and shadows are incapable of explaining light and between shadow and light there is the opaque body from which words are born.
Light That's how I feel- like the winter-fringed breeze might scoop me up into its wings, fly away with me trapped in its feathered embrace. I am a snowflake. A wisp of eiderdown, liberated from gravity. My body is light. Ephemeral. My head is light. I want to sway beneath the weight of air, dizzy with thought. Light filters through my closed eyelids. The sun, chasing shadows, tells me I'm not afloat in dreams.
In thinking of light, if we can think about what it can do, and what it is, by thinking about itself, not about what we wanted it to do for other things, because again we've used light as people might be used, in the sense that we use it to light paintings. We use it to light so that we can read. We don't really pay much attention to the light itself. And so turning that and letting light and sound speak for itself is that you figure out these different relationships and rules.
I always wanted to make a light that looks like the light you see in your dream. Because the way that light infuses the dream, the way the atmosphere is colored, the way light rains off people with auras and things like that...We don't normally see light like that. But we all know it. So this is no unfamiliar territory - or not unfamiliar light. I like to have this kind of light that reminds us of this other place we know.
Light has called forth one organ to become its like, and thus the eye is formed by the light and for the light so that the inner light may emerge to meet the outer light.
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.
My works are about light in the sense that light is present and there; the work is made of light. It's not about light or a record of it, but it is light. Light is not so much something that reveals, as it is itself revelation.
The art of lighting the stage consists of putting light where you want it and taking it away from where you don't want it.
Like the way the sun is right now, with the long shadows, and that kind of bright, soft light you get when the sun isn't quite setting? That's the light that makes everything better, everything prettier, and today, everything just seemed to be in that light.
All great films are a resolution of a conflict between darkness and light. There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art.
The thing that is most beautiful about Antarctica for me is the light. It's like no other light on Earth, because the air is so free of impurities. You get drugged by it, like when you listen to one of your favorite songs. The light there is a mood-enhancing substance.
I write little quotes all the time to help encourage people to come together, like this one: 'If fate happens to toss you a lightbulb, use it to light the path of others, for they will use theirs to light the path of you. With your light together with mine, it's two times as bright and twice as strong.'
I write little quotes all the time to help encourage people to come together, like this one: "If fate happens to toss you a lightbulb, use it to light the path of others, for they will use theirs to light the path of you. With your light together with mine, it's two times as bright and twice as strong.
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.
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