Top 1200 Good Picture Quotes & Sayings

It is a good idea to know which publishers publish which stories. For example, there is no sense in sending a picture book text to a publisher who does not publish picture books.

I'd much rather turn down a starring role in a bad picture and do a small role in a very good picture.

I know I didn't like that dress 'cause it didn't fit but I thought it was a great picture. We weren't the first band to do a picture in drag; The Rolling Stones were. If it was good enough for them then it had to be good enough for us.

The Union, and the Constitution, are the picture of silver, subsequently framed around it. The picture was not made to conceal or destroy the apple, but to adorn and preserve it. The picture was made for the apple-not the apple for the picture.

The job is trying to create movie shots that have depth, that have the meanings you need them to have, and then good enough so that they will add something to the final picture. They will make the picture; they'll get into the picture, and give them what they need. It's an interesting job.

What do we need all that for?”If a picture is psychologically motivated, if there is truth in the relationship in it, then I think that picture will do good. I firmly believe Rebel Without A Cause is such a picture.

What is an artistic picture? An artistic picture is very simple. The creator is not the producer. The creator is not the star. The creator is the director, the person who realizes the picture, like a poet, like an artist. The creator of the picture is free to do whatever he wants, how he wants to do it. That is an artistic picture.

I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.

Most of the time the ones who dislike the pictures the most confirm to me that the picture has hit home and is probably truer than I know. Nobody minds a boring picture, they mind a picture that has gotten to the soft core.

I am sort of proud that I think radio has become a dominant influence in shaping public opinion. Good radio paints the picture for the audience. The audience has to be actively involved. Sometimes, in television, you can get lulled into sleep watching the picture, not listening to what you're hearing.

There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.

Each time you take a good picture, you have the wonderful feeling of exhilaration... and almost instantly, the flip side. You have this terrible, terrible anxiety that you've just taken your last good picture.

A picture, to be an interesting picture, must be more than a picture, otherwise it is only a reproduction of an object, and not an object of value in itself.

The heavens are not filled with hostility. The sky does not express a frown. When I look up I do not contemplate a face of brass, but the face of infinite good will. Yet when I was a child, many a picture has made me think of God as suspicious, inhumanly watchful, always looking round the corner to catch me at the fall. That "eye," placed in the sky of many a picture, and placed there to represent God, filled my heart with chilling fear. . . . Heaven overflows with good will toward us! Our God not only wishes good, he wills it!

A good headline can make an advertisement good even if the picture is poor.

When I say that a good picture has surprise quality or shock appeal, I do not mean that it is a loud or vulgar picture but, instead, that it stimulates my thinking and intrigues me.

Really the truth is just a plain picture. A plain picture of, let's say, a tramp vomiting in the sewere. You know, and next door to the picture Mr. Rockefeller or Mr. C. W. Jones on the subway going to work. You know, any kind of picture. Just make a collage of pictures.

When someone says to you, 'Oh, I don't take a good picture,' what they mean is they haven't come to terms with how they look. They take a fine picture, it's just that their image of how they think they look is not in touch with the reality.

I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'

A good picture, any picture, has to be bristling with razor blades.

We all create expectations of what we would like to happen after a decision is made. The picture in our mind's eye might have served a valuable function in helping to make a decision. But once the decision is made, let the picture go. Since you can't control the future, the picture can create unhappiness if it's not fulfilled. Disappointment may make you miss the good that can come out of every situation in which you find yourself.

The feeling we experience while we look at a picture is not to be distinguished from the picture or from ourselves. the feeling, picture, and ourselves are united in one mystery.

I feel like the quality of privacy and respect of people's personal space has been completely disintegrated. You can ask to take the picture. I will be so glad to take the picture and pose and look good for the picture.

I think anybody can take a good picture. My idea of a good picture is one that's in focus and of a famous person doing something unfamous. It's being in the right place at the wrong time.

The process must be concealed from - non-existent for - the photographer, who by definition need think of the art in the taking and not in the making photographs... In short, all that should be necessary to get a good picture is to take a good picture.

Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.

I want to make a picture that could stand on its own, regardless of what it was a picture of. I've never been a bit interested in the fact that this was a picture of a blues musician or a street corner or something.

It's good that everyone has an opportunity to take pictures, the chance to be a photographer. Some are good, too. But the bad thing is that it's very, very difficult to take a great picture. Everyone can take a good picture - even a child - but it's hard to make a great one.

Sometimes, when I get a good picture, it feels like I have taken another nervous step into increasingly rarified air. Each good-news picture, no matter how hard-earned, allows me only a crumbling foothold on this steepening climb—an ascent whose milestones are fear and doubt.

The way I would describe a pictorial is that it is a picture that makes everybody say ‘Aaaaah,’ with five vowels when they see it. It is something you would like to hang on the wall. The french word ‘photogenique’ defines it better than anything in English. It is a picture which must have quality, drama, and it must, in addition, be as good technically as you can possible make it.

When you go out skating with your friends, you need one friend who knows how to take a good picture. Without the picture, there is no proof that you pulled the trick.

What most of us are after, when we have a picture taken, is a good natural-looking picture that doesn't resemble us.

Nine years old, I became the victim of war. I didn't like that picture at all. I felt like, why he took my picture, when I was agony, naked, so ugly? I wished that picture wasn't taken.

Alice suspected Paul couldn’t really picture his father, just like she couldn’t picture Paul when he was away. Maybe that was the case with people you wanted more than was good for you.

Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture - no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good - better than anything I could ever say on the subject.

When buyers see the pride of ownership - when they come in, and they're impressed by how clean the place is - they can picture their kids playing on the floor. They can picture the family sitting around the table. When they can picture their own family in that space, instantly you grab them, and they'll pay more money, too.

I don't see myself as a movie maker only. When I can do a picture, I do. But I don't work like a business, in pictures. I am not obliged to make one picture after the other in order to live. I write books, I write for comic books, I give lectures... I live. And when the opportunity comes to do a picture, I do a picture.

Each picture with its particular environment and unique personal relationships is a world unto itself - separate and distinct. Picture makers lead dozens of lives - a life for each picture. And, by the same token, they perish a little when each picture is finished and that world comes to an end. In this respect it is a melancholy occupation.

Drawing a good picture is like telling a really good lie - the key is in the incidental detail.

Your attitude is like a box of crayons that color your world. Constantly color your picture gray, and your picture will always be bleak. Try adding some bright colors to the picture by including humor, and your picture begins to lighten up.

The high-definition picture is still a perspective picture. That's the real problem, the perspective picture.

I think everybody has a purpose. Everybody is made to be a picture of how good and glorious God is, and I think sometimes we'll get it confused and think because we mess up, we make mistakes or we have some blemishes in our record, that our purpose is somehow messed up. But actually that only serves to further paint a picture of how good God is when he uses people who are messed up just like me.

A good picture is equivalent to a good deed.

The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.

I really approached the film as if it was a white big piece of paper and I was going to draw a picture on it. And whether that picture was good or bad, whatever people thought of it, what they could never take away was that it was my picture.

It's far better to shoot a good picture than a good-looking picture.

I don't think it's possible to write a good play or paint a good picture and be a good Republican.

If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.

Intellectuals are good at seeing the big picture. But they are not so good at process.

He's very alive in a scene. He's a very good actor to act with. Even though through most of the picture he's blind, there are many places early in the picture I got to be with him before he was blind. Like convincing him in the office to do the picture.

Exotic novelty. My statement to [people] is always, well, set this picture in your home town, is it still an interesting picture? Or is it just exotic? Would I care about this same picture minus its exoticism?

I feel I'm such a big part of that insecurity that some girls might have because of my job, that girls think they have to be that picture. And even boys, they think that that picture exists, and it's so frustrating because I don't look like that picture - I wake up not looking like that picture.

One time a guy handed me a picture. He said, 'Here's a picture of me when I was younger.' Every picture is of you when you were younger. 'Here's a picture of me when I'm older.' 'You son of bit, how'd you pull that off Let me see that camera. What's it look like'

I've certainly always had a very high regard for Botswana and so I paint a very good picture of the country and I've never pretended to be painting an entirely realistic picture.

If it's just brushstrokes wrestling around, it isn't much of a picture book, is it? There still has to be a picture. And maybe it needs to be a picture of a dog named Daisy or a little girl riding a bike. So I have to be careful before I get too carried away in the manner itself.

I will be so glad to take the picture and pose and look good for the picture. But when you catch me while I'm looking real sideways and the picture's ugly as hell, I don't want you to have the picture like that!

When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.

I, you know, am all over the place — every category of pictures I have made, good, bad or indifferent. I could not make, like Hitchcock did, one Hitchcock picture after another. … I wanted to do a Hitchcock picture, so I did `Witness for the Prosecution,’ then I was bored with it, so I moved on.

There's always a time in any series of work where you get to a certain point and your work is going steadily and each picture is better than the next, and then you sort of level off and that's when you realize that it's not that each picture is better then the next, it's that each picture up's the ante. And that every time you take one good picture, the next one has got to be better.

I have a genuine philosophy. I do not want to make negative pictures about people, and so I do everything I can to help make them feel comfortable in front of the camera. That is what is going to control your picture, because you are alone if your subject is not with you. And that's the simple answer to getting a good picture.