The personality and style of a photographer usually limits the type of subject with which he deals best. For example Cartier-Bresson is very interested in people and in travel; these things plus his precise feeling for geometrical relationships determine the type of pictures he takes best. What is of value is that a particular photographer sees the subject differently. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.
There was a stage inside it and a crank on the outside that would rotate something, like a tiny tree carved of cork, onto the stage, and then the thousands of little mirrors would multiply that one tree so that the viewer would see an infinite forest instead.
And there are some - Bernie [Ecclestone] and others - who are embracing new technologies. When Sky UK started to broadcast there was an argument that audience would come down because it is pay TV. But the actual quality of the production and the use of technology and the engagement of the viewer is much better than it ever was. The product is simply better.
I decided that one day I had to make a film where the viewer couldn't possibly guess the end.
As a viewer of TV shows, I always like shows more when I just feel like the people in charge have a plan. You can just tell sometimes, 'Oh, there's a plan there. They have an idea for how this is going to unfold. '
It`s always fun when somebody who you admire and respect is the voice - is your voice, as a viewer.
The viewer is more likely to project their own narrative onto the picture.
The better the coverage, the more discriminating the viewer.
I'm fond of implied narratives, oblique angles, and leaving a little room for the viewer to finish a picture.
Put a symbol, or language of some sort, in a painting and it will be noticed by the viewer whether or not they can read that particular language.
What counts isn't being able to do a thing, it's seeing what it is. Seeing is the decisive act, and ultimately it places the maker and the viewer on the same level.
The context in which a photograph is seen affects the meaning the viewer draws from it.
Brad Bird is fond of saying that music is the easiest thing that can derail a film because if it slightly goes a degree off track it will take the viewer in the wrong emotional direction. To work with people who actually care about that is a good thing.
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 didn't intend to work on the issue of child marriage, but I felt like it was a topic that is related to a lot of the other issues, like acid attacks, self-immolation, and female genital mutilation. I wanted to continue to drive the conversation, but my overall goal is to protect girls. Photography has a way of addressing the viewer whether they want to deal with it or not, and that's why photography is such a good medium for documenting the issues that girls face.
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.
The average late-night viewer is in their mid-50s and the average viewer of TBS is in their 30s and is largely African-American and Hispanic, already, before I even get there.
A good photograph will prove to the viewer how little our eyes permit us to see
All we do is bring the debate from both sides, and let you as a viewer decide where you want to end up on the issue. That's very important. That's exactly what happens in 'Redemption Inc. '
. . . in our time art is encrusted with a noisy, opaque, logorrhea of theory that prevents a work from coming into direct, media free, non-interpreted contact with its viewer (its reader, its listener)