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1 " Everyone has a photographic Memory, some just don't have film. "
― Steven Wright
2 " For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood. "
― Roland Barthes , Camera Lucida: Reflections on Photography
3 " I have one last hope for you, which is something that I already had at 21. The friends with whom I sat on graduation day have been my friends for life. They are my children’s godparents, the people to whom I’ve been able to turn in times of trouble, friends who have been kind enough not to sue me when I’ve used their names for Death Eaters. At our graduation we were bound by enormous affection, by our shared experience of a time that could never come again, and, of course, by the knowledge that we held certain photographic evidence that would be exceptionally valuable if any of us ran for Prime Minister. "
― J.K. Rowling , Very Good Lives: The Fringe Benefits of Failure and the Importance of Imagination
4 " My husband and I have always been good at creative visualization. Before we quit drugs and got married he’d place tabs of acid on his eyes to see things that weren't there. I'd lay blank sheets of photographic paper on the cornea of developing solution to conjure images. We'd always coaxed dreams from paper, and believed them. "
― Jalina Mhyana , Dreaming in Night Vision: A Story in Vignettes
5 " In the forty minutes I watched the muskrat, he never saw me, smelled me, or heard me at all. When he was in full view of course I never moved except to breathe. My eyes would move, too, following his, but he never noticed. Only once, when he was feeding from the opposite bank about eight feet away did he suddenly rise upright, all alert- and then he immediately resumed foraging. But he never knew I was there.I never knew I was there, either. For that forty minutes last night I was as purely sensitive and mute as a photographic plate; I received impressions, but I did not print out captions. My own self-awareness had disappeared; it seems now almost as though, had I been wired to electrodes, my EEG would have been flat. I have done this sort of thing so often that I have lost self-consciousness about moving slowly and halting suddenly. And I have often noticed that even a few minutes of this self-forgetfulness is tremendously invigorating. I wonder if we do not waste most of our energy just by spending every waking minute saying hello to ourselves. Martin Buber quotes an old Hasid master who said, “When you walk across the field with your mind pure and holy, then from all the stones, and all growing things, and all animals, the sparks of their souls come out and cling to you, and then they are purified and become a holy fire in you. "
6 " A recurrent question about photography is how much self expression it allows the photographer. There are two standard positions, each corresponding to a different location oh photographic skill. The opposition is neatly summed up in Bioy Casares’s novel The Adventures of a Photographer in La Plata (1989). The hero Nicolasito Almanza declares: ‘I am convinced that all of photography depends on the moment we press the release […] I believe that you’re a photographer if you know exactly when to press the release.’ In making this declaration he is responding to the opinion expressed by Mr Gruter, owner of a photographic laboratory: ‘[…] sometimes I wonder if the true work of the photographer doesn’t begin in the dark room, amid the trays and the enlarger. "
7 " One of my friends at the Compound has a photographic memory. Everything she ever sees, reads, or hears, she remembers forever in perfect detail. "
― Kasie West , Pivot Point (Pivot Point, #1)
8 " Are we not, all of us, in some way, damaged mirrors? Are we not constantly engaged in focusing the light of thought—memories out of the depths of human experience—onto the photographic plate of each moment? The image captured in this instant is a snapshot of all eternity, subtly altered by our own brokenness. And who’s to say that the image formed by a damaged mirror is not a truer picture of the universe? "
― Yael Shahar
9 " Emotions retain a timeless photographic memory. Good or bad, you can never forget how a person makes you feel. "
― Carl Henegan , Darkness Left Undone
10 " In my photographic work I was always especially entranced, said Austerlitz, by the moment when the shadows of reality, so to speak, emerge out of nothing on the exposed paper, as memories do in the middle of the night, darkening again if you try to cling to them, just like a photographic print left in the developing bath too long. "
― W.G. Sebald , Austerlitz
11 " Internal mental experience is not the product of a photographic process. Internal reality is in fact constructed by the brain as it interacts with the environment in the present, in the context of its past experiences and expectancies of the future. At the level of perceptual categorizations, we have reached a land of mental representations quite distant from the layers of the world just inches away from their place inside the skull. This is the reason why each of us experiences a unique way of minding the world. (pp. 166-167) "
― Daniel J. Siegel , The Developing Mind: How Relationships and the Brain Interact to Shape Who We Are
12 " This was it. This would be my final mission. An overwhelming sadness swept over me at the realization. There would be no more racing across campus to replace the missing arm of the Caesar Augustus statue with one made of pink duct tape. My mind would no longer be used as a photographic tool to unveil a terrorist’s plan. No more last-minute science experiments to help rescue a father and daughter from a terrorist organization. I wouldn’t get to rescue myself with the aid of a Millard-enhanced device. No more disguises involving wigs and glasses to save a Van Gogh painting. The Mariinsky Theatre, the Superman building, the Louvre—my stories would disappear, along with my memories. Light had vanished around me as the ocean swallowed me. I’d been unable to save a helpless girl from her evil kidnapper. In the darkness I heard Daly’s voice, clear and strong, almost like he was there. Don’t give up. Fight. Push yourself. Alexandra Stewart can make a masterpiece out of any canvas. He was right—I couldn’t give up. (page 206) "
― Robin M. King , Memory of Monet (Remembrandt, #3)
13 " (In response to a picture critic.) I'm actually a very joyful person. But being a genius with a photographic memory mixed with a strong case of OCD makes for a difficult picture sometimes. "
― Calvin W. Allison
14 " Let's have a bet, then. If I'm right, you kiss me," he says." And if I'm right?" " Name it." It's like taking candy from a baby. Mr. Macho Guy's ego is about to be taken down a notch, and I'm all too happy to be the one to do it. " If I win you take me and the class project seriously," I tell him. " No teasing me, no making ridiculous comments." " Deal. I'd feel terrible if I didn't tell you I have a photographic memory." " Alex, I'd feel terrible if I didn't tell you I copied the info straight from the book." I look at the research I'd done, then flip open to the corresponding page in my chem book. " Without looking, what does it need to be cooled at?" I ask.Alex is a guy who thrives on challenges. But this time the tough guy is going to lose. He closes his own book and stares at me, his jaw set. " Twenty degrees. And it needs to be dissolved at one hundred degrees, not seventy," he answers confidently.I scan the page, then my notes. Then back at the page again. I can't be wrong. Which page did I- " Oh, yeah. One hundred degrees." I look up at him in complete shock. " You're right." " You gonna kiss me now, or later?" " Right now," I say, which I can tell shocks him because his hands go still. At home, my life is dictated by my mom and dad. At school, it's different. I need to keep it that way, because if I have no control in every aspect of my life I might as well be a mannequin." Really?" he asks." Yeah." I take one of his hands in mine. I'd never be this bold if we had an audience, and am thankful for the privacy of the nonfiction titles surrounding us. His breathing slows as I sit up on my knees and lean into him. I'm ignoring the fact that his fingers are long and rough and that I've never actually touched him before. I'm nervous. I shouldn't be, though. I'm the one in control this time.I can feel him restraining himself. He's letting me make the move, which is a good thing. I'm afraid of what this boy would do if he let loose.I place his hand against my cheek so it cups my face and I hear him groan. I want to smile because his reaction proves I have the power.He's unmoving as our eyes meet.Time stops again.Then I turn my head into his hand and kiss the inside of his palm." There, I kissed you," I say, giving him back his hand and ending the game.Mr. Latino with the big ego got bested by a ditzy, blond bimbo. "
15 " [Concerning] phosphorescent bodies, and in particular to uranium salts whose phosphorescence has a very brief duration. With the double sulfate of uranium and potassium ... I was able to perform the following experiment: One wraps a Lumière photographic plate with a bromide emulsion in two sheets of very thick black paper, such that the plate does not become clouded upon being exposed to the sun for a day. One places on the sheet of paper, on the outside, a slab of the phosphorescent substance, and one exposes the whole to the sun for several hours. When one then develops the photographic plate, one recognizes that the silhouette of the phosphorescent substance appears in black on the negative. If one places between the phosphorescent substance and the paper a piece of money or a metal screen pierced with a cut-out design, one sees the image of these objects appear on the negative. One can repeat the same experiments placing a thin pane of glass between the phosphorescent substance and the paper, which excludes the possibility of chemical action due to vapors which might emanate from the substance when heated by the sun's rays. One must conclude from these experiments that the phosphorescent substance in question emits rays which pass through the opaque paper and reduces silver "
16 " Usually the amateur is defined as an immature state of the artist: someone who cannot — or will not — achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography. "
17 " I imagine that the essential gesture of the Operator is to surprise something or someone (through the little hole in the camera), and that this gesture is therefore perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better whose alibi) is “shock”; for the photographic “shock” consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it. "
18 " When we are reading, a voice comes to us as in the dark and whispers, " Imagine!" Samuel Beckettas told by Bill Moyer in the Foreword he wrote for, The Public Library: A Photographic Essay by Robert Dawson. Afterword by Ann Patchett "
19 " I am intrigued with scriptural mythology that tells us that God created a divine feminine presence to dwell amongst humanity. This concept has had a constant influence on the work. I have imagined her as ubiquitous, watchful, and often in motion. This work is, in effect, the photographic image of the invisible. "
― Leonard Nimoy , Shekhina
20 " There is a terrible truthfulness about photography. The ordinary academician gets hold of a pretty model, paints her as well as he can, calls her Juliet, and puts a nice verse Shakespeare underneath, and the picture is admired beyond measure. The photographer finds the same pretty girl, he dresses her up and photographs her, and calls her Juliet, but somehow it is no good – it is still Miss Wilkins, the model. It is too true to be Juliet.George Bernard ShawWilson’s Photographic Magazine, LVI, 1909 "
― , The Photographer's Eye