Visual surprise is natural in the Caribbean; it comes with the landscape, and faced with its beauty, the sigh of History dissolves.
The first effect of looking at a good photograph through the stereoscope is a surprise such as no painting ever produced. The mind feels its way into the very depths of the picture. The scraggy branches of a tree in the foreground run out at us as if they would scratch our eyes out
He was facinatined by Stereography and amassed a large collection of stereographs.
For me, it's mostly about having stuff on the street. You're walking down the street, you do it every day, and suddenly there's something that wasn't there yesterday: something bright and cheerful and different. It might stay there for a year; maybe it will disappear.
You have only 30 seconds in a TV commercial. If you grab attention in the first frame with a visual surprise, you stand a better chance of holding the viewer. People screen out a lot of commercials because they open with something dull. When you advertise fire-extinguishers, open with the fire.
I remember being on a black-and-white set all day and then going out into daylight and being amazed by the colour.
The greatest value of a picture is when it forces us to notice what we never expected to see.
I like the sudden shock of non-sequitur color. Color, in fact, is my weakness.
It is better decoration when, in painting, some monstrosity is introduced for variety and a relaxation of the senses and to attract the attention of mortal eyes, which at times desire to see that which they have never seen.