One who returns to a place sees it with new eyes. Although the place may not have changed, the viewer inevitably has. For the first time things invisible before become suddenly visible.
A good photograph is one that communicates a fact, touches the heart and leaves the viewer a changed person for having seen it. It is, in a word, effective.
The artist gazes upon a reality and creates his own impression. The viewer gazes upon the impression and creates his own reality.
Whether it's viewers of the show or readers of my columns and books, I'm consistently impressed with their wit, humor and insight. That goes for about 95 percent of the audience. The other five percent are why the 'Delete' option and restraining orders were invented.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
What's really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer.
I think that emotional content is an image's most important element, regardless of the photographic technique. Much of the work I see these days lacks the emotional impact to draw a reaction from viewers, or remain in their hearts.
It was, just as Kinski had predicted, suicide. He should never have done it. It is widely held by those who knew him, and Kinski himself, that he never recovered from Woyzeck. But what was the ultimate result? If you are the viewer of this film, Kinski's portrayal shocks your feelings out of the vault of intellectualizing or passive observing. He forces you to feel with him, to align yourself with your buried emotions. He outs your sensitivity. Is this not something Christ-like? It is, for my money. Kinski is the pure cure for the 21st-century disease - the numbness unto droning.
I don't believe in using too much graphic violence, although I've done it. It's better to be suggestive and to allow the viewer to fill in the blanks in their minds.
My paintings are inspirational for they allow the observer to experience infinite viewpoints and perceptions. They are not abstract for they represent what is actually more real than what our eyes are able to see. They allow the viewers to be inspired by taking their own perception beyond their senses and their surroundings.
I don't want ever to appear in a film that would embarrass a viewer. A man can take his wife, mother, and his daughter to one of my movies and never be ashamed or embarrassed for going.
Confusion and clutter are failures of design, not attributes of information. And so the point is to find design strategies that reveal detail and complexity - rather than to fault the data for an excess of complication. Or, worse, to fault viewers for a lack of understanding.
The viewers must come to understand the sacredness of painting, so they will remove their hats as if they were in church.
There's something imminent in the work, but the circle is only completed by the viewer.
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art. There is no doubt that the leaders of the creative artists of the last 50 years concentrated their efforts mainly on eliminating that distance.
In every man there is a hidden child which is called the urge to create and he prefers as play things and serious things not the miniature ships, recreated in the minutest detail, but the walnutshell with a bird feather as mast and sail and a pebble as the captain. He also wants to be able to participate and to co-create in art, rather than being simply an admiring viewer. For this "child in man" is the immortal creator within him.
Bad Gardens copy, good gardens create, great gardens transcend. What all great gardens have in common are their ability to pull the sensitive viewer out of him or herself and into the garden, so completely that the separate self-sense disappears entirely, and at least for a brief moment one is ushered into a nondual and timeless awareness. A great garden, in other words, is mystical no matter what its actual content.
You've got to look for a gap, where competitors in a market have grown lazy and lost contact with the readers or the viewers.
The concept of doing holiday episodes is a huge part of what's fantastic about doing TV. And viewers agree; you see the numbers going up for holiday episodes.
I mean a racist, hate-filled host who is openly trying to get people to be violent would have zero viewers in the America I know and love.
For the broadcast business to be successful, viewers need to be not merely interested in our political melodramas, they have to be in an absolute state about them - emotionally invested in the outcome and frightened not to watch what happens next.
The still must tease with the promise of a story the viewer of it itches to be told.
If there was a blog with five listeners or viewers, I had to be on it. Now I have to be on fewer media, but more substantive media.
We've had a series of major news stories that have brought in viewers who either were sampling to see what else was available or were normal news watchers. The Florida recount and the end of the election was a huge development. And then 9/11 came along.
We had more viewers on the broadcast network than we did on the cable channel.
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