Growing up, I never saw images of trans people succeeding.
Poets deal in writing about feelings and trying to find the language and images for intense feelings.
I knew what it was to be uncomfortable in a movie theater watching unfolding on the screen images of myself – not me, but black people – that were uncomfortable.
We knew that if the photos of CIA officers conducting authorized EIT (enhanced interrogation techniques) ever got out, the difference between a legal, authorized, necessary, and safe program and the mindless actions of some MPs (military police) would be buried by the impact of the images.
The images attempt to capture scientific thought. They represent the physical manifestation of the thought process. Everything in the laboratory is a product of a stream of conscious or unconscious thought.
Salman is a very relaxed and chilled out guy with no pretentions. What you see is what you get. That’s great in an industry which survives on creating images and personas.
I can’t tell you the deluge of images that were sent to me through all the different social media platforms of families partying together… enjoying ‘Sharknado.’
Dreams are the guiding words of the soul. Why should I henceforth not love my dreams and not make their riddling images into objects of my daily consideration?
You always want to come back with an image that’s interesting visually, and you hope to get something from the person you photograph that’s different than other images you know of these people.
There was a time not long ago when stories about Internet crimes were a tough sell for TV newsmagazines. Executive producers were wary because images of people typing on keyboards and video of computer monitors did not make especially compelling TV, even when combined with emotional interviews with victims.
I like simplicity. I like using natural sources. I like images to look natural – as though somebody sitting in a room by a lamp is being lit by that lamp.
You search for images and stories and movies and music from people that look like you and sound like you and speak like you because you want to feel like, ‘Oh, if they can do it, so can I.’ There’s a little bit of that need for validation, especially when you’re younger and trying to look to someone to look up to.
ABC has a general policy that you can’t show images of the World Trade Center on Sept. 11.
Anyone can contribute images, and we sell them to designers and agencies all over the world.
But I think we’re also just talking about the literacy of the audience. The visual literacy of the audience. They’ve seen so many images now, especially here in the States. There’s so much to look at, to watch. So the visual storytelling literacy is harder to impress.
Digital books are still painfully ugly and weirdly irritating to interact with. They look like copies of paper, but they can’t be designed or typeset in the same way as paper, and however splendid the cover images may look on a hi-res screen, they’re still images rather than physical things.
We’re always bombarded with images from magazines of what looks cool and sexy.
A romantic novel is an adult fairy story, repeating the recurring symbols and images which can explain life to a woman and satisfy a powerful need within her. The need to love and be loved is vital to all human beings, but especially to women.
My beauty icons are women whose images are self-created.
We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.
I learned that fashion was about more than fancy images. That there was a business side as well.
I’m interested in everything. I don’t see why Borges can’t work along with Neil Gaiman, or Stephen King can’t be mixed with Balzac. It’s just storytelling; it’s different ways of using codes and images and words and sounds.
I’m not as good a writer as I’d like to be; therefore, I like to use images to tell stories.
My dad bought me a camera, and I started taking it everywhere with me. I realised how much I was enjoying the whole process – from taking the images to editing them and developing them – and it soon became a complete passion.
What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
Poetry taught me a great deal about language and images, but when it came to plotting, I was stumped. It’s been very much a learn-by-doing thing for me.
Cartoons ran into trouble when they became too much like real life images. Cartoons had become poor imitations of the real thing.
Digital imaging allows both groups to rise above the limitations of mess and clutter and mechanics, and apply our talents to creating images limited only by our imaginations.
Our memories are convenient lies we create, cribbing images from others’ experiences. We discard the personal specifics which don’t conform to the ideal conventional beauty created by art directors and cinematographers.
If the chemistry is right between star and photographer and the geometry of the pictures pleases the star, often the two people end up with a long-term professional friendship during which they continue to work together and to produce highly personal images.
For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it. When you photograph somebody who is in pain or discomfort, they trust you to make sure the images will act as their advocate.
I’m very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
I can tell you what images are in your head. I can tell what music you’re thinking of. I can tell if you’re listening to me or not. That’s possible with an MRI now.
When you have to pass through a couple of kids with Uzis on your way out of Jerusalem, you don’t forget those images. Getting out of your comfort zone is healthy. It’s one thing to hear about how things work in other countries, but it’s another thing to be there.
The mind loves the unknown. It loves images whose meaning is unknown, since the meaning of the mind itself is unknown.
I thought that if I could speed up the production of animation, I could make a big business out of recreating the amazing images of the news because what we get on TV is always the last bit of image.
When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.
This league has great players, and it has great images. Sometimes those two things get confused.
Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have been shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
It was just like a digital fixation with cards and math and science and then I started to look at images of great magicians from Houdini down the line.
Rag & bone images always reflect the authenticity of the brand. Their images have character and tell a story.
David Gulden captures animals in all their wonder and intrigue, without glorifying or romanticizing them. He knows Kenya’s wildlife intimately, and it shows in the depth of his images. He has an artist’s eye, which delivers beauty and transport in every picture.
It is possibly not very helpful to our inner life to ponder a great deal on how the external world is reflected in our soul. By doing so, we do not get beyond a shadowy picture of the world of mental images in ourselves.
When you see a silent movie, you understand everything that’s going on from the images because the images are so strong.
We’re constantly being fed images and being told what to like and what is good, and for the most part, I think people enjoy living that way. It takes a lot of the thinking out of it.
The reporting of news has to be understood as propaganda for commodities, and events by images.
Images contaminate us like viruses.
But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.
Videos come definitely after the music has been created, but I have always felt, and especially today, that videos are vital in the album process. I think that we live in a very visual era, and if you make a mistake with a video, those images will accompany the song forever.
No one can deliver visual content like Getty Images.
I was pleased that two very disparate photographs, two images that each worked in their own way had appealed enough to other people for them to buy them. I was also relieved they weren’t the last ones purchased, and that they sold for a pound more than the frame was worth.
Health care has a lot of interesting machine-learning problems – outpatient outcomes, or when you have x-ray images and you want to predict things.
I don’t really like reading: I like seeing and touching images.
I try not to get caught up in how our society is so inundated with images, and stay very focused on the work that I’m doing.
