Visual Focus Quotes

It was a lot to get used to, especially in warm-ups with the wind all over the place. As the meet went on it steadied out, so I was able to get some good looks to go back and train from.

I never talk when I'm drawing a person, especially if I'm making line drawings. I prefer there to be no noise at all so I can concentrate more.

Whether the flower or the color is the focus I do not know. I do know the flower is painted large to convey my experience with the flower - and what is my experience if it is not the color?

There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.

I have no ear for music. When I attend a concert, I endeavor gamely to follow the sequence and relationship of sounds but cannot keep it up for more than a few minutes. Visual impressions, reflections of hands in lacquered wood, a diligent bald spot over a fiddle, take over, and soon I am bored beyond measure by the motions of the musicians.

As for the outside world, the artist is confronted by what he sees; but what he sees is primarily what he looks at.

Running backwards down the stairs, holding the camera, trying to focus on what's in front of you is difficult, and you need to be able to protect the camera.

I was teaching live drawing in a community college and students started zoning in on the face and spending a couple of hours on that and then putting the rest of the body on the face only in the last hour. It didn't work to just tell them, 'Well, you're really not thinking of the body as a totality.' So in desperation I would put a drape over the model's head so they couldn't see it. They had to draw the body and then at the end of the session for an hour I would take the drape off just to try to reverse their procedure.

If you respond to pop music as an older person, then it's your game. But this business has a tremendously visual focus.

We only see what we look at. To look is an act of choice.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

The principal person in a picture is light.

Drawing is a kind of hypnotism: one looks in such a way at the model, that he comes and takes a seat on the paper.

I don't want you looking at the light fixture; I want you looking at where light goes. But more than that, I'm interested in the effect of light upon you and your perceptions.

The main thing about directing is: photograph the people's eyes.

If in making a picture you introduce two ideas, you weaken it by half-if three, it weakens by compound ratio-if four, the picture will be really too weak to consider at all and the human interest would be entirely lost.

A picture of Christ was hung in the back of a pulpit. When the minister rose to speak one Sunday morning, a little boy asked his mother, 'Mother, who is that man who stands so we can't see Jesus?'

The eye obeys exactly the action of the mind.

I think that one of the most important things that art can do is give you a reason to look at something, almost give you permission to look at something.

I can zero in on subtle things because I'm holding the camera.

So take my advice: whatever you do? Don’t blink

On film, you really have to focus on what you're looking at. You're imprinting a physical image.

If you're playing a shot and your peripheral vision picks up a player moving as you play the shot, if your vision goes from the object ball to what they're doing, you can miss the shot by several inches.

I do my best hitting when I'm walking. That means I'm relaxed and my pitch recognition is a lot better.

I love to accent movement. The eye goes to where the white is - you know, the glove. And the feet, if you're dancing, you can put an exclamation point on your movement if it has a bit of light on it. So I wore the white socks. And for the design of the jacket, I would sit with the people who made the clothes and tell them where I wanted a button or a buckle or a design.