Top 1200 Contact Lenses Quotes & Sayings - Page 4

Other men are lenses through which we read our own minds. Each man seeks those of different quality from his own, and such as are good of their kind; that is, he seeks other men, and the rest.

Too many people don't look at things objectively and try to see the facts; they instead look at them through their partisan lenses and try to figure out how to twist or spin them to fit their own 'side.'

I've got extra lenses inside my eyes to try to help me read better. They help with peripheral vision, but I've got no central vision.

When I was in Wuhan, I went to the art school, which was one of the most important art schools in China, an enormous art school. One of the things that I saw is that the schools are very big and there are so many students. It is very difficult to me to teach creative activity to great numbers of people, because I think you need personal contact with students, you need to speak individually, you need individual contact between teachers and students, you need continuity. To me this is a problem in mass education in every society now.

In the theater you can chain a blue-assed baboon in the stalls and with a good script, good actors, and a good set you'd have what is called a production. With the cinema someone has to know about lenses and fine things. I have no time for the "auteur de cinema." To me, it's meaningless.

Humanism has many meanings, but what attracts me about it is that it encourages men and women to take a broad view of situations and to think about them from on-the-ground perspectives rather than through theoretical and conceptual lenses.

When I was in film school I had this great professor, Jerzy Antczak, a Polish filmmaker, and Joe Russo of the Russo Brothers were in my class. It was this kind of Easter European philosophy of motivating camera only through character and motions, and just exploring with lenses. That was the best year of my education in my life.

Don't be a perfectionist, because perfectionists often spend too much time on little differences at the margins at the expense of other big, important things. Be an effective imperfectionist. Solutions that broadly work well (e.g., how people should contact each other in the event of crises) are generally better than highly specialized solutions (e.g., how each person should contact each other in the event of every conceivable crisis).

No plan survives contact with the enemy.

For me, vision is just about the most important thing. So goggles play a huge role in my sport. I come to the competition with a bunch of different goggles and tons of different lenses in multiple tints. The weather can always be changing, and you have to have the right thing to make sure you can see perfectly.

Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.

The thing represented had to pass through two distorting lenses: the artist's mind, and his medium of expression, before it emerged as a man-made dream - the two, of course, being intimately connected and interacting with each other.

We have contact with alien cultures.

Contact with the customer is what business is all about.

Contact with reality is not an all-or-nothing condition.

We need voices that help us critique our social, political, and economic views through Kingdom lenses. The women and men who compose the global body of Christ can help challenge us in very important ways.

Politics is a contact sport.

At 3-D Imax theaters, audiences have shown they are willing to pay a premium to wear headgear fitted with liquid-crystal lenses synchronized via infrared signals with the movie projector, which runs at twice the normal frame rate. These movie viewers plumb new depths in depth perception - they experience extreme realism.

I have some advantages of viewing from the two lenses, the two perspectives. I think that a lot of visual artists who come back here from the United States and are Cambodian also write from their American references - looking inside the old culture, and looking at themselves as an American looking into the country where they were born.

When you do bigger jobs there's more attention and when you film in New York you get loads of paparazzi everywhere. It affects your work because you're trying to think about the person you're acting with and you've got 20 other lenses taking pictures of you at the same time, and it throws you.

Politicians try to see the world through other people's lenses and try to bring people together so that we can have a mutual view of the world - and how do we work together, not from the individual views that we all have.

Everybody knows politics is a contact sport.

Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.

My first priority when taking pictures is to achieve clarity. A good documentary photograph transmits the information of the situation with the utmost fidelity; achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.

Cameras and lenses are simply tools to place our unique vision on film. Concentrate on equipment and you'll take technically good photographs. Concentrate on seeing the light's magic colors and your images will stir the soul.

I shoot with a few different camera's. A Sony A6000 with several lenses and a Lumix LX100 with a beautiful Leica lens. I like to travel light so I can have it with me most of the time. I really try and document all the places we travel to.

Contact is in my nature.

Dream delivers us to dream, and there is no end to illusion. Life is like a train of moods like a string of beads, and, as we pass through them, they prove to be many-colored lenses which paint the world their own hue. . . .

I want to be behind the scenes, and learn more. What cameras to use, what lenses to use, what shots I want to get. And it takes time, so being on movies and sets, I just learn.

Flamengo usually contact managers who have won a lot of trophies.

Our past is not, as some fear, a series of events carved in stone that we must carry around for the rest of our lives... but a kaleidoscope of experiences that, when viewed through different lenses, can 'color' (change) how we see our present and future.

A camera is wild in just about anybody's hands, therefore one must set limits. But cameras have a life of their own. Cameras care nothing about cults or isms. They are indifferent mechanical eyes, ready to devour anything in sight. They are lenses of the unlimited reproduction.

I have contact with no one involved in the trial.

People see America through particular lenses, either their profession, their race or their gender. So the party that speaks to our racial perceptions and offers solutions to the racial difficulties which we face is the party that's going to be rewarded with our votes.

If worldviews or metanarratives can be compared to lenses, which of them brings things into the sharpest focus? This is not an irrational retreat from reason. Rather, it is about grasping a deeper order of things which is more easily accessed by the imagination than by reason.

Physical contact is a human necessity.

The good news is we are seeing an incredible surge in non-animal technologies in laboratories. With researchers using stem cells, visually impaired people may one day have new corneas and lenses grown from their own cells. That is likely to be a more effective and cheaper approach than using animals.

Men in general are too material and do not make enough human contacts. If we search for the fundamentals which actually motivate us we will find that they come under four headings: love, money, adventure and religion. It is to some of them that we always owe that big urge which pushes us onward. Men who crush these impulses and settle down to everyday routine are bound to sink into mediocrity. No man is a complete unit of himself; he needs the contact, the stimulus and the driving power which is generated by his contact with other men, their ideas, and constantly changing scenes.

I find human contact repulsive.

I have always loved fashion, trends, style, make-up and hair, but yes, some sort of a transformation truly happens when I play a 'bahu'. That's when I have to wear brown lenses to cover my green eyes, colour my hair dark, wear saris, and surprise myself that I can pull this off, too.

To avoid eye contact, kiss.

No Plan Survives First Contact With Customers

Don't avoid eye contact and don't be late

I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.

Monks congregate like dogs in a kennel, From contact with their superiors they acquire knowledge, Is one the course of the wind, is one the water of the sea? Is one the spark of the fire, of unrestrainable tumult? Monks congregate like wolves, From contact with their superiors they acquire knowledge. They know not when the deep night and dawn divide. Nor what is the course of the wind, or who agitates it, In what place it dies away, on what land it roars.

For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.

Most people don't wear glasses in the U.S., and we're not conditioned to finding men and women who wear glasses sexy. If you need your glasses to see, find a good optometrist who can outfit you with a great frame, thin lenses, and a high-quality anti-reflective coating.

In a period piece, particularly a fantasy, the lighting is your own choice, the lenses are your own choice. It's really a great thing for a cinematographer to do. Everything is open for you. You can even be more creative and you can use more shadows than usual.

Politics in Philadelphia is a contact sport.

I remember thinking when I set out to direct my movie that it was all about lenses and the shots you were going to get. Really, directing is about tapping into what makes us the most human, telling stories, emotions, and managing a group of empathetic people.

I treasure solitude. One doesn't have to have human contact.

The contact of two epidermises.

I feel like I'm at a place in my life where I'm really strangely happy, and in awe of how great the world can be, and I think that's because I have gone through periods of looking at the world through a really melancholy lenses. It's all just flip sides of the same coin.

When I was a kid, I saw Mardi Gras in New Orleans. So to me Party Rock was always wear your animal print, bring your no-lenses glasses, dress up in a bunch of colors and have fun. Animal print is a must.

Hip-hop is a contact sport.

I think normative or binary lenses for seeing bodies often crush or delegitimize other felt physical experiences of being and desiring. I've found that such inadequate ways of understanding bodies can be - but aren't always - based on biological perspectives.

Your home should be your home. People shouldn't be allowed to use whatever crazy lenses they use to catch you waking up in the morning.

Running for president is a contact sport.

National diplomacy strategies are usually focused on promoting one's interests against others' interests. By emphasizing the global 'we' rather than the national 'I' in the climate change debate, COP 21 proved to be a case in point for a change of lenses.

In football, contact is normal, especially in England.