Discover the most popular and inspiring quotes and sayings on the topic of Aberration. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Aberration Quotes And Sayings by 92 Authors including Mason Cooley,Steven Hall,Nikki Sixx,Bob Goff,Paul Valery for you to enjoy and share.
Telescopes and binoculars endanger the ever-distant sublime.
Especially in quail hunting, where the hunter is so focused on the bird that it makes everything else blurry. The bottom line in terms of bird hunting is what we call shooting zones.
People say I have a distorted lens. I think I see things as they really are.
Son, you need to look through the scope at the things that are far away, but you also need to take your eye away long enough to see what's close.
Thanks to photography, the eye grew accustomed to anticipate what it should see and to see it; and it learned not to see nonexistent things which, hitherto, it had seen so clearly.
The divisions of Perspective are 3, as used in drawing; of these, the first includes the diminution in size of opaque objects; the second treats of the diminution and loss of outline in such opaque objects; the third, of the diminution and loss of colour at long distances.
Acceleration is pressing his eyeballs out of their right shape. High tech astigmatism.
The eye is a menace to clear sight.
If a medium is representational by nature of the realistic image formed by a lens, I see no reason why we should stand on our heads to distort that function. On the contrary, we should take hold of that very quality, make use of it, and explore it to the fullest.
If the hand be held between the discharge-tube and the screen, the darker shadow of the bones is seen within the slightly dark shadow-image of the hand itself ... For brevity's sake I shall use the expression 'rays'; and to distinguish them from others of this name I shall call them 'X-rays'.
Some people, myself in particular, have an adversarial relationship with the camera, and it sprouts up in every photograph.
Inanimate objects sometimes appear endowed with a strange power of sight. A statue notices, a tower watches, the face of an edifice contemplates.
It was like seeing the slides at the optometrist, when you didn't even realize how blurry something was until you got to see the clearer version, and you could see what had been obscured before.
Photography is my method for defining the confusing world that rushes constantly toward me. It is my defensive attempt to reduce our daily chaos to a set of understandable images.
Why are all the artists so dead-set on distorting? It seems to be a reaction against photography, but I'm not sure.
Black detraction will find faults where they are not.
There is creation in the eye.
There is a curious law of art ... that even the attempt to reproduce the act of seeing, when carried out with sufficient energy, tends to lose its realism and take on the unnatural glittering intensity of hallucination.
Using two-dimensional lenses to perceive the multi-faceted world can limit your ability to observe the world more objectively.
For some reason most critics have a hard time fixing their minds directly under their noses, and before they see the object that is there they use a telescope upon the horizon to see where it came from.
The eyes of a man are of no use without the observing power. Telescopes and microscopes are cunning contrivances, but they cannot see of themselves.
It is because of the servility of photography that I am fundamentally contemptuous of this chance invention which will never be an art but which plagiarizes nature by means of optics. (1848)
She was like a camera that had been chronically out of focus until someone came by and twisted the lenses into alignment.
Distortion is part of desire. We always change the things we want.
Optical units close to each other on a picture plane tend to be seen together and, consequently, one can stabilize them in coherent figures.
For both reasons, owing to the thermal motion and to the working together of various wavelengths, factors arise which, in a similar manner to the structural factor, exert some influence upon the brightness of the interference points but not upon their location.
Photography deals exquisitely with appearances, but nothing is what it appears to be.
If you're looking for faults use a mirror, not a telescope
The camera has an interest in turning history into spectacle, but none in reversing the process. At best, the picture leaves a vague blur in the observer's mind; strong enough to send him into battle perhaps, but not to have him understand why he is going.
Aberrations of the human mind are to a large extent due to the obsessional pursuit of some part-truth, treated as if it were a whole truth.
Pictures, regardless of how they are created and recreated, are intended to be looked at. This brings to the forefront not the technology of imaging, which of course is important, but rather what we might call the eyenology (seeing).
The necessary condition for an image is sight,
There we measure shadows, and we search among ghostly errors of measurement for landmarks that are scarcely more substantial.
Perception of an object costs
Precise the Object's loss -
What's so incredibly amusing with photography is that while seemingly an art of the surface, it catches things I haven't even noticed. And it pains me not to have seen things in all their depth.
Goodness gracious me,' exclaimed Alexia, 'what are you wearing? It looks like the unfortunate progeny of an illicit union between a pair of binoculars and some opera glasses. What on earth are they called, binocticals, spectoculars?
The persistent problem in photography is how to look at it.
We must not confuse distortion with innovation; distortion is useless change, art is beneficial change.
A non-analogue image has an extremely compressed life. It starts as this and, in increasingly short time spans, becomes that.
It is perhaps not a surprise that photography developed as a technological medium in the industrial age, when reality started to disappear. It is even perhaps the disappearance of reality that triggered this technical form. Reality found a way to mutate into an image.
The camera has its own kind of consciousness; in the lens the Garden of Eden itself would become ever so slightly too perfect.
I held up my glass and stared through it, where things looked as distorted as they really were.
One sees qualities at a distance and defects at close range.
Night baseball isn't an aberration. What's an aberration is a team that hasn't won a World Series since 1908. They tend to think of themselves as a little Williamsburg, a cute little replica of a major league franchise. Give me the Oakland A's, thank you very much. People who do it right.
But it is true that sometimes an enveloping darkness aids one to clearer vision; as in a panorama building, for example, where the obscurity about the entrance prepares one better for the climax, and gives the scene depicted a more real and vivid appearance.
By this Yoshida explains that 'when we look at the actual conditions of this world through the camera's lens, we must deny the random movements of the human eye and restrain the eye's constant movements in order to focus on one point.
In conclusion, the idea of direction on the part of the photographer has its greatest value when its processes are least discernible to the spectator.
Oculus Dei, the eyes of God.
I want the stark beauty that a lens can so exactly render presented without interference of artistic effect.
The first object of the painter is to make a flat plane appear as a body in relief and projecting from that plane
But there was in the air that kind of distortion that bent you a little; it caused your usual self to grow slippery, to wander off and shop, to get blurry, bleed, bevel with possibility.
The farther reason looks the greater is the haze in which it loses itself.
The technique of 35mm photography appears simple. One is beguiled by the quick viewing and operation, and by the very questionable inclination to make many pictures with the hope that some will be good.
The art of photography is all about directing the attention of the viewer.
But the brilliant were subject to mental aberrations, were they not?
Errors are excllent projectiles ... Factions are blind men who aim straight
At the last dim horizon, we search among ghostly errors of observations for landmarks that are scarcely more substantial. The search will continue. The urge is older than history. It is not satisfied and it will not be oppressed.
Clarity depends on contrast. In
A powerful hand lens [Eschenback Leutchlupe] with a focused beam of light opens up an entire world below the threshold of the ordinary experience of seeing.
Sometimes, when you look close enough at a person hoping to find clarity, the image of the person becomes so hazy, so distorted, that all you're left with is unclear thoughts and more questions.
Photography is without mercy
though it's nonsense to say it does not lie. Rather, it lies in a particular, capricious way which makes beggars of ministers and gods of cat's meat men.
We have had bird's-eye views seen by mind's eye imperfectly. Now we will have nothing less than the tracings of nature itself, reflected on the plate.
All art is a vision penetrating the illusions of reality, and photography is one form of this vision and revelation.
clarity of vision - especially
The cooperation of the two retina in one field of vision, whatever is its cause, must rather be the source of all the ideas to which single or double vision may give rise.
Error's monstrous shapes from earth are driven
They fade, they fly
but truth survives the flight.
And everything you do, or might achieve thereafter, is thinner, weaker, matters less. There is no echo coming back; no texture, no resonance, no depth of field.
I've been missing something recently. Turns out it was perspective.
If life was an arc of light that began in darkness, ended in darkness, the first part of his life had happened in ordinary glare. Here it was as though he
had found a polarized lens that deepened and intensified all seen through it.
A single and distinct luminous body causes stronger relief in the objects than a diffused light; as may be seen by comparing one side of a landscape illuminated by the sun, and one overshadowed by clouds, and illuminated only by the diffused light of the atmosphere.
Here is my lens. You know my methods.
PROLOGUE The client sat in an eight-foot-square room staring at a large one-way mirror that offered a view into flat, smooth darkness. An audio
It appears, from all that precedes, reasonably certain that if there be any relative motion between the earth and the luminiferous ether, it must be small; quite small enough entirely to refute Fresnel's explanation of aberration.
A square object was visible at a greater distance than a round object of the same area.
The distortion of a text resembles a murder: the difficulty is not in perpetrating the deed, but in getting rid of its traces.
Things always appear clear and simple from behind glass. It is in the thick of tribulations that blurring details arise, complicating my life. You can't rightly judge me, nor can you assist, from a shielded viewpoint.
What Albert Einstein termed optical delusion,
The Indians termed Maya or Illusion.
Sextants that divided the sky into angles not found in the usual geometries, microscopes whose hermetically sealed lenses distorted the viewed object into shimmering rainbow images, other instruments whose complexity and manifold adjustments quite overwhelmed my powers of speculation as to their use
Photography does not form a separate, barren field of art. It is only a means of execution, uniform, rapid and sure, which serves the artist by reproducing with mathematical precision the form and effect of objects and even that poetry which at once arises from any harmonious combination.
Yesterday's dust
determined
today's range of vision
Photography hankers after the condition of the neutral observer. But there can be no such things as a neutral observer. For something to be seen, it must be looked at by somebody, and any true and real depiction must be an account of the experience of that looking.
There are some sights that, once seen, can never be unseen. They replay themselves on a loop in your mind's home-theatre system with Dolby surround sound until you're so desperate to be rid of them that you'll resort to other loops simply to dislodge them for a while.
Observation is like a piece of glass, which, as a mirror, must be very smooth, and must be very carefully polished, in order that it may reflect the image pure and undistorted.
Detraction's a bold monster, and fears not
To wound the fame of princes, if it find
But any blemish in their lives to work on.
Photography through the camera is an instrument of detection. We photograph not only what we know, but also what we don't know.
Photography turns one and all into fools, including - especially - artists like himself, eager to hunt life and trap as many of its fleeting variables as possible inside a 35 mm frame but doomed to return empty-handed far more often than not.
A shudder runs through the viewer of old photographs. For they make visible not the knowledge of the original but the spatial configuration of a moment; what appears in the photograph is not the person but the sum of what can be subtracted from him or her.
You can't have the finest buildings if they're not in focus. They become like nice cars parked on the street.
Virtual-reality researchers have long struggled to eliminate effects that distort the brain's normal processing of visual information, and when these effects arise in equipment that augments or mediates the real world, they can be that much more disturbing.
The awareness of the quality of space in out photos is akin to our awareness of the very air in our photos, the atmosphere that pervades every square inch of our image and yet is often invisible to the photographer.
The phenomena of nature, especially those that fall under the inspection of the astronomer, are to be viewed, not only with the usual attention to facts as they occur, but with the eye of reason and experience.
While in theory digital technology entails the flawless replication of data, its actual use in contemporary society is characterized by the loss of data, degradation, and noise; the noise which is even stronger than that of traditional photography.
The clearsighted eye turns the light back to see its own Original Nature ...
no aperture is numbed ; no matter if it seems void
If it is not an interesting picture when in focus, it is not going to be a better picture out of focus.
Looking through the atmosphere is somewhat like looking through a piece of old, stained glass. The glass has defects in it, so the image is blurred from that.
And in the bloodlit dark behind his eyes, silver phosphenes boiled in from the edge of space, hypnagogic images jerking past like a film compiled of random frames. Symbols, figures, faces, a blurred, fragmented mandala of visual information.
The overhead light streaked
What the human eye observes causally and incuriously, the eye of the camera notes with relentless fidelity.
One of the greatest enemies to vision is sight!