Top 1200 Pictures Quotes & Sayings - Page 3

These pictures possibly give rise to questions of political content or historical truth. Neither interests me in this instance. And although even my motivation for painting them is probably of no significance, I am trying to put a name to it here, as an articulation, parallel to the pictures, as it were, of my disquiet and of my opinion.

Is it crazy that George Bush, ex-President of America, now paints pictures of dogs? Tiny, little, nice pictures of dogs, after all the suffering that he caused? That's crazy that he's doing that!

Sometimes I think all my pictures are just pictures of me. My concern is...the human predicament; only what I consider the human predicament may simply be my own.

Wolfe was drinking beer and looking at pictures of snowflakes in a book someone had sent him from Czechoslovakia... ...Wolfe seemed absorbed in the pictures. Looking at him, I said to myself, "He's in a battle with the elements. He's fighting his way through a raging blizzard, just sitting there comfortably looking at pictures of snowflakes. That's the advantage of being an artist, of having imagination." I said aloud, "You mustn't go to sleep, sir, it's fatal. You freeze to death." The League of Frightened Men

The secret of all effective originality in advertising is not the creation of new and tricky words and pictures, but one of putting familiar words and pictures into new relationships.

I don't ever mean my pictures to be depressing - I don't believe in making depressing pictures.

I'm a photographer and my pictures are used in advertising campaigns. But I don't do advertising. Do you hear me? I take pictures. I'm not an advertising agency. I'm not an advertising man.

When the people sat around on the porch and passed around the pictures of their thoughts for the others to look at and see, it was nice. The fact that the thought pictures were always crayon enlargements of life made it even nicer to listen to.

It can make you sad to look at pictures from your youth. So there's a trick to it. The trick is not to look at the later pictures.

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.

We are to have no pictures which the puritan and the narrow, animated by an obsolete dogma, cannot approve of. We are to have no theaters no motion pictures, no books, no public exhibitions of any kind, no speech even which will anyway contravene his limited view of life.

Everybody hates to edit my film. Back in the day, we called it film - now, my digital cards. But I shoot an awful lot of pictures. I don't want to hesitate, because I believe the moment is everything in a picture. So, I take the pictures.

The main thing is to study pictures and stop listening to the pontifictaions of photographers. Photographers aren't oracles of wisdom. If they're good photographers, then take a good look at their pictures - what else do you need?

In terms of Ray Liotta, when I was a teenager growing up in Colorado, I didn't have pictures of girls on my wall. I had pictures of Ray Liotta on my wall. Along with Mike Patton, he was one of my heroes.

I remember I took an editorial, and I was so excited. I got the pictures back, and I looked in the magazine, and I was like, 'Oh my gosh!' My arms were half their size, and I had a thigh gap magically, and all these crazy things. My family went out and tried to find my pictures in the magazines, but no one could recognize me.

I was always trying to take art photographs, but the most interesting pictures were the snapshots. The artsy pictures were boring, always.

The six and one-fourth hours' television watching (the American average per day) which non-reading children do is what is called alpha-level learning. The mind needn't make any pictures since the pictures are provided, so the mind cuts current as low as it can.

It is proper to take photographs or other kinds of pictures of persons to put them before us for sight or remembrance. But it is improper to make pictures and images of God and to take his likenesses therefrom to his great distortion.

The present moment is changing so fast that we often do not notice its existence at all. Every moment of mind is like a series of pictures passing through a projector. Some of the pictures come from sense impressions. Others come from memories of past experiences or from fantasies of the future.

Pictures of entire lives, of the choices that people make and how those choices work out for them, those pictures are almost impossible to get.

It is more raw and unfettered and I'm more likely going into something you could call extreme cartooning. There's a lot of that in the course of 'Holy Terror.' There are interludes where there are pictures - cartoon pictures - of modern figures and they are all wordless. It's up to readers to put the words in.

My pictures are never pre-visualized or planned. I feel strongly that pictures must come from contact with things at the time and place of taking. At such times, I rely on intuitive, perceptual responses to guide me, using reason only after the final print is made to accept or reject the results of my work.

In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.

I don't post pictures of my grandchildren unless I get permission. I'm really respectful about that. If I feel like anything is invasive of someone's privacy, I don't do that, either. Sometimes I have great pictures, but I'm like, 'Eh, maybe this is not right.'

I don't want pictures of my kids anywhere. I don't tweet pictures of my kids. I don't put them on any social media. I definitely do like to keep some privacy that way. And mostly, it's fear-based; people are crazy.

Remember the cliche: ... "Cameras don't take pictures, people take pictures."

There is no comment on pictures but pictures, on music but music, on poems but poetry. If you do, you do. If you don't, you don't. And that's all there is to that.

I love that vision-board thing where you cut out pictures that resonate with you so they'll manifest. I've done that since I was three; I cut out pictures of ladies from the JCPenney catalog.

I want to make books. I want to take pictures and then write all over the pictures. And then I don't have to say a complete story, because I have the picture, and I have just a word.

I love this life. I feel like I am always catching my breath and saying, 'Oh! Will you look at that?' Photography has been my way of bearing witness to the joy I find in seeing the extraordinary in ordinary life. You don't look for pictures. Your pictures are looking for you.

I don't click pictures. People carry a camera with them while travelling, take pictures, keep them as memories, but I don't. I don't even have a camera.

I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.

Pictures get manipulated, pictures get dropped into accounts. We've asked an internet security firm and a law firm to take a hard look at this to come up with a conclusion about what happened and to make sure it doesn't happen again.

I think, for a lot of people, the point is to get high engagement and likes on their photos, so I think it's just good marketing. But at the same time, if you're posting pictures and you look nothing like your pictures, then it's false advertising.

The secret of all effective advertising is not the creation of new and tricky words and pictures, but one of putting familiar words and pictures into new relationships.

Why do they put pictures of criminals up in the Post Office? What are we supposed to do, write to them? Why don't they just put their pictures on the postage stamps so the postmen can look for them while they deliver the mail?

My monochrome pictures are not my definite works, but the preparation for my works. They are the leftovers from the creative processes, the ashes. My pictures, after all, are only the title-deeds to my property which I have to produce when I am asked to prove that I am a proprietor.

What does it mean to go deeper? Taking pictures when you're more emotional or sorrowful, or having sex? I just want to have really boring snapshots - people just standing in front of a camera taking pictures with a smile.

If you take the '70s with Blaxploitation pictures, there was a proliferation of black-content films and motion pictures, television, stage plays and so forth at a time when Hollywood was in trouble financially, and it was cheaper to do black films to keep the lights on until they could reestablish themselves.

It fascinates me that there is a variety of feeling about what I do. I'm not a premeditative photographer. I see a picture and I make it. If I had a chance, I'd be out shooting all the time. You don't have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.

I'm kind of selective of the people that I take photos of. Like, I don't take pictures of just my friends, but I do like taking pictures of just some of my close mates, especially out in L.A.

My movies more often are told through pictures, not words. But in this case, the pictures took second position to the incredible words of Abraham Lincoln and his presence [...] I was less interested in an outpouring of imagery than in letting the most human moment of this story evolve before us.

I feel like I become somebody else when I do the pictures. I don't like doing pictures as myself. I like to be made into somebody different.

I considered that the painter's personality should be kept out of things, and therefore pictures should be anonymous. It was I who decided that pictures should not be signed, and for a time Picasso did the same.

I'm making the art for me first. I'm making it because these are the pictures I want to see. I'm making pictures that don't yet exist.

I thought that from the moment someone else could do the same as myself, there was no difference between the pictures and they should not be signed. Afterwards I realized it was not so and began to sign my pictures again. Picasso had begun again anyhow.

All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.

Men are more evanescent than pictures, yet one sorrows for lost friends, and pictures are my friends. I have none others. I am never long enough with men to attach myself to them; and whatever feelings of attachment I have are to material things.

It was astonishing when at one point, I got the idea of how to make artifical clouds with a collaborator, we had pictures made which were theoretically completely artificial pictures based upon that one very simple idea. And this picture everybody views as being clouds.

the grim, grand African forests are like a great library, in which, so far, I can do little more than look at the pictures, although I am now busily learning the alphabet of their language, so that I may some day read what these pictures mean.

I began making pictures because I wanted to record what supports hope: the untranslatable mystery and beauty of the world. Along the way, however, the camera also caught evidence against hope, and I eventually concluded that this, too, belonged in pictures if they were to be truthful and thus useful.

I don't know. I don't go around looking at my pictures. I sometimes think I'm a mechanic. I just take pictures. When the time comes, for whatever reason, I get involved in editing and getting some prints made and stuff. There are things that interest me. But I don't really mull over them a lot.

If you look at pop culture as the main picture you see of black men, all these kind of threatening pictures and - I think those of us who are artists and who are in media have to think carefully about what those pictures are.

The pictures were painted directly through me, without preliminary drawings and with great power. I had no idea what the pictures would depict and still I worked quickly and surely without changing a single brush-stroke.

I used to paint pictures - what happened was, I used to draw and paint pictures. And some of my friends would be, like, 'Yo, you should put that on a T-shirt,' because that's where their brain would go.

I was digging in the backyard to get my own clay and making pottery. And then I started taking pictures and built my own darkroom. I would go out at six in the morning and just take pictures.

I love the interplay between words and pictures. I love the fact that in comics, your pictures are acting like words, presenting themselves to be read.

Pictures have a lot more power than text. Text is just a bunch of little symbols. You have to actually read it and imagine it, and even that can be censored. With pictures, it's a lot more immediate.

We become very impressed when we get to look inside ourselves, into pictures. That's the relationship we have with pictures. Every picture is a piece of the inside of ourselves.

I like hiding somewhere, like, say on a bus street in a doorway, and taking pictures without people knowing - which sounds really creepy....You get some of the most interesting pictures because people are walking past not realising you're there.