Top 1200 Images Quotes & Sayings - Page 2

I've seen so many photographers rush to do books the minute they start shooting, but one great thing about photography is that the images don't go away, so the more I sit with these images, the more I learn which ones have had the most impact.

I knew he wouldn't come, but I howled anyway, and when I did, the other wolves would pass images of him to me of what he looked like: lithe, gray, yellow-eyed. I would pass back images of my own, of a wolf on the edge of the woods, silent and cautious, watching me. The images, clear as the slender-leaved trees in front of me, made finding him seem urgent, but I didn't know how to begin to look.

Traditionally, images have functioned as representations of something in the world, but we are quickly approaching the point where vast majority of images are produced for other machines, and no human being will ever see them.

You see someone like maybe William Eggleston. William doesn't even really talk about what he does; he just wants to make these images. He kind of hovers around a location and extracts these images.

I don't digitally manipulate my images, because I am interested in the spontaneous act of creating images without forethought. I know many artists start with an idea in mind, and then they put it on paper. I don't work that way.

Images are really powerful. People fall in love with images, and as a way of falling in love with someone because they're like an image.

We live in a society that has no adequate images anymore, and if we do not find adequate images and an adequate language for our civilization with which to express them, we will die out like the dinosaurs.

My experience as a pastor is lots of people have really toxic, dangerous, psychologically devastating images of God in their head, images of a God who's not good.

When I left Haiti, I was eight. I went to the Congo where my father was working. The only images that I had were the images of Tarzan. That's what I thought Africa was. Of course, the first day I arrived there, I thought I would see a lot of savages dancing on the tarmac.

Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior.

A daydream is a meal at which images are eaten. Some of us are gourmets, some gourmands, and a good many take their images precooked out of a can and swallow them down whole, absent-mindedly and with little relish.

Poets use metaphors and symbolism to construct images. I construct my images in the same way, except that I am using a different form.

The history of cinema appears to be easy to do, since it is, after all, made up of images; cinema appears to be the only medium where all one has to do is re-project these images so that one can see what has happened.

When you stand between two mirrors you're spread out among the images, your whole soul is pulled out thin, and somewhere in the distant images a dark part of you might get out and come looking for you, if you aren't careful.

The reverse process is extremely important to me - that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words.

We are entering into an age in which visual language is defined by a dialogue between photographers and audiences. This means not just the democratic posting of images but the democratic interpretation of images.

I came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.

Soft things are terrifying. They're the real signals of death. Images of strength can never be that terrifying. It's the images of weakness that are a real apocalypse.

I've been collecting photographs since I don't know when, for a long time, for different reasons. You can find them on eBay and when we were browsing through the shops there were images that attracted me. These are all historical images because these days they're all digital. They don't exist anymore.

... the daily world exists because we know how to hold its images; consequently, if one drops the attention needed to maintain those images, the world collapses

Images also help me find and realise ideas. I look at hundreds of very different, contrasting images and I pinch details from them, rather like people who eat from other people`s plates.

Back then people closed their eyes and listened to music. Today there's a lot of images that go with the music. A lot of music is crap and it's all commercial and the images are all trying to sell the record.

There were no black images of dignity, no images of beautiful black people. There was this big hole. I tried to fill it.

This is a culture filled with perfect images of women and perfect images of movie actresses, and most people can't live up to them.

My work is basically images set to my particular voice. It's the way the images rhyme and the rhythm. It's a way of economical storytelling for me.

I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don't fabricate worlds; I pay attention to the things that already surround us.

I don't know whether we think in moving images or whether we think in still images. I have a suspicion that on our hard drive, our series within our brains, [exist] still photographs of very important moments in our lives. ... That we think in terms of still images and that what the photography is doing is making direct contact with the human hard drive and recording for all time a sense of what happened.

CGI means, just to be clear, creating any type of image with a computer. Basically, starting off with nothing, or with images and manipulating them. The way we did it, everything was actual photographed images. A lot of that stuff was shot through a microscope of chemical reactions, yeast growing, lots of weird things, by Peter Parks. We put it into a computer and collaged it, manipulated it. Meaning we digitally shaped it to fit with other images. But there was no computer-generated imagery at all.

Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.

I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.

I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.

One of the reasons I work serially, but also one of the reasons that I try to claim space in painting, is I'm desperately interested in asking: How can a group of images, or even two images, have meaning together?

In images,... beauty was the agency that caused visual pleasure in the beholder; and any theory of images that was not grounded in the pleasure of the beholder begged the question of their efficacy and doomed itself to inconsequence.

Temples have their images; and we see what influence they have always had over a great part of mankind. But, in truth, the ideas and images in men's minds are the invisible powers that constantly govern them; and to these they all pay universally a ready submission.

First, those images help us understand the general and specific magnitude of disaster caused by the tsunami. The huge outpouring of aid would not have happened without those images.

Where do these images comes from and where do they return? What is it that projects these images? How is it that we are the screen? How is it that we have forgotten that we are the Self and that nothing but the Self exists?

This is the power of images, the ambiguity. You are never completely sure of anything. With written language, it's more concrete. You have to establish some facts, but in movies, you see things happening, and the exact meaning behind the images is more ambiguous.

When I was coming up, we didn't have the movement of Black Girl Magic or Black Girls Rock, but my parents made it their business to make sure I saw positive images of myself and celebrated images of black women.

Perhaps the old literacy of words is dying and a new literacy of images is being born. Perhaps the printed page will disappear and even our records be kept in images and sounds.

Pornography is about images that are repeated, saturated. Images of the human body, not nature. What I find in pornography is precisely the repetition of the same: the clichés of pornography. There can be no real transgression, just an image that repeats itself.

It is important to understand, not intellectually but actually in your daily life, how you have built images about your wife, your husband, your neighbor, your child, your country, your leaders, your politicians, your gods-you have nothing but images. The images create the space between you and what you observe and in that space there is conflict, so what we are going to find out now together is whether it is possible to be free of the space we create, not only outside ourselves but in ourselves, the space which divides people in all their relationships.

External images act on me, transmit movement to me, and I return movement: how could images be in my consciousness since I am myself image, that is, movement?

I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.

If there can be a better way for the real world to include the one of images, it will require an ecology not only of real things but of images as well.

My eye, my brain, are images, parts of my body. How could my brain contain images since it is one image among others?

Truly great images make all the other millions of images you look at unimportant. You gotta look at an image and understand it in a nanosecond.

Popular culture isn't a freeze-frame; it is images zapping by in rapid-fire succession, which is why collage is such an effective way of representing contemporary life. The blur between images creates a kind of motion in the mind.

The thing itself is one; the images are many. What leads to a perceptive understanding of the thing is not the focus on one image, but the viewing of many images together.

Cutting out images you like from art books and framing them is a great way of getting beautiful works on your wall. You can also frame magazine images or pick up inexpensive art at museum gift shops.

We must find out what words are and how they function. They become images when written down, but images of words repeated in the mind and not of the image of the thing itself.

Facts are the images of history, just as images are the facts of fiction.

We are carrying these images out into the world, and we can't control how people contextualize those images no matter how virtuous our aspirations and our intentions are.

In societies where modern conditions of productions prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation. The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be re-established. Reality considered partially unfolds, in its own general unity as a pseudo-world apart, an object of mere contemplation . . . The spectacle is not a collection of images, but a social relation among people, mediated by images.

People always form images of who others are, and they can be inflated images. People may not realize that the enormous energy and spiritual power that comes through a teacher, especially in a teaching situation, has nothing to do with that person.

I always write with images. I cannot write a book if I don't have images.

It is my mind, with its store of images, that gives the world color and sound; and that supremely real and rational certainty which I can "experience" is, in its most simple form, an exceedingly complicated structure of mental images. Thus there is, in a certain sense, nothing that is directly experienced except the mind itself. Everything is mediated through the mind, translated, filtered, allegorized, twisted, even falsified by it. We are . . . enveloped in a cloud of changing and endlessly shifting images.

The images I had were of people being driven mad by living in the city. Images of parents who were so hungry and unfulfilled that they ate their own children.

We cannot fling ourselves into the blank future; we can only call up images from the past. This being so, the important principle follows, that how many images we have largely depends on how much past we have.

I will not be just a tourist in the world of images, just watching images passing by which I cannot live in, make love to, possess as permanent sources of joy and ecstasy.

Most human behavior is controlled by images. Image is a factor in how people look at themselves and what they use to reflect themselves. The control of images is a major factor in world power.