Werner Herzog Quotes

There are chemists who spend their whole lives trying to find out what's in a lump of sugar. I want to know one thing. What is color?

The job of the color photographer is to provide some level of abstraction that can take the image out of the daily.

The whole world, as we experience it visually, comes to us through the mystic realm of color.

The precision of naming takes away from the uniqueness of seeing.

In art, as in science, reductionism does not trivialize our perception - of color, light, and perspective - but allows us to see each of these components in a new way.

There are two types of people, you see. One type keep their heads straight, and look around as they walk. The others look up - at the tops of houses, at the eaves and the lintels and the roofs, which can tell you when they were built - and I've always done that.

I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.

WorldView-3 goes into the mid-infrared wavelength, allowing you to see very subtle geological differences on the sites at a 0.4-metre resolution.

My mom's an artist in every way. She's a painter, a photographer. She's a wanderer - always searching, always seeing. I guess you could say my mom gave me her eyes.

Color correction is one of my things.

There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'

Humans are generally much trickier to draw because we're so used to looking at and analyzing human faces. The slightest tweak makes a huge difference in how we perceive that character.

Every perception of color is an illusion, we do not see colors as they really are. In our perception they alter one another.

The painter has to unlearn the habit of thinking that things seem to have the color which common sense says they 'really' have, and to learn the habit of seeing things as they appear.

The paintings usually start as abstracts and then I look at them and look at them, and like a Rorschach test, I try and see what it is.

Do you understand how there could be any writing in a spider's web?" "Oh, no," said Dr. Dorian. "I don't understand it. But for that matter I don't understand how a spider learned to spin a web in the first place. When the words appeared, everyone said they were a miracle. But nobody pointed out that the web itself is a miracle." "What's miraculous about a spider's web?" said Mrs. Arable. "I don't see why you say a web is a miracle-it's just a web." "Ever try to spin one?" asked Dr. Dorian.

Art trains the mind through the eye, and the eye through the mind. As the sun colors flowers, so does art color life.

We want to decipher skies and paintings, go behind these starry backgrounds or these painted canvases and, like kids trying to find a gap in a fence, try to look through the cracks in the world.

Color is the place where our brain and the universe meet.

The light is there, and colors surround us. However, if there were no light nor colors in our own eye, we wouldn't perceive such things outside of us.

If you stand too close to a painting - all you see are patches of color, if you stand too far back, you can't see any of the detail.

I open my eyes and my ears, and that’s why I work.

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.

Drawing is of the Spirit and color of the Senses.

We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman.