Discover the most popular and inspiring quotes and sayings on the topic of Descriptors. 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 Descriptors Quotes And Sayings by 94 Authors including Frederick Lenz,Jerry Della Femina,Shiloh Walker,Henry Fox Talbot,Allan Sekula for you to enjoy and share.

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We can think of descriptions almost as computer languages, an operative description that only deals with very simple operations. Its code is sex - Male, female, dark, light, up down, in out - its the language of duality.
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Pictures bring you inside, whether you see yourself driving a new car or as a hapless prisoner who is being abused.
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You can know who a person is simply by staring into their eyes.
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[The camera] may be said to make a picture of whatever it sees, the object glass is the eye of the instrument - the sensitive paper may be compared to the retina.
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The photograph is an incomplete utterance, a message that depends on some external matrix of conditions and presuppositions for its readability.
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The signature of our eyes, in other words, the way we look never changes even at the age of hundred!
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Someone who is comfortable, someone who is happy, you see them immediately sit up, stand up and feel better about themselves. If you're able to capture that in a picture, that's the most beautiful picture you can ever take of someone.
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faces tell stories if you learn to read them!
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In new situations, I look carefully at appearances. In familiar ones, I glance.
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There is no more merit in being able to attach a correct description to a picture than in being able to find out what is wrong with a stalled motorcar. In each case it is special knowledge.
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Surface beauty: blond hair, blue eyes" - she was looking at me - "is always easy to recognize. But if someone is braver, stronger, smarter, that's harder to see." - Kendra Hilferty
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The abstracting of visual elements in order to recognize their particularity has become automatic, but seeing, combining, and creating them as integrated 'wholes' will remain a lifelong challenge.
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The shape of his head, the set of his shoulders are a pattern she could recognize and love out of a crowd of shadows.
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Observe the eyes, for they are the windows to her soul.
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Something catches your eye, or your interest. You attack it in some way or observe it in some way, and try to put it in some kind of form and take a picture. It's as simple as that.
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The serial number of a human specimen is the face, that accidental and unrepeatable combination of features. It reflects neither character nor soul, nor what we call the self. The face is only the serial number of a specimen
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A picture may describe a 1000 words but it will often need 1000 words to describe a picture.
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Recognition is a fire ; you can burn or find warmth and comfort by it.
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A tree against the sky possesses the same interest, the same character, the same expression as the figure of a human.
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Discrimination involves reflection and absorption.
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All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
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Eyes speak the best of the body language.
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In almost the same way you know what your grandmother looks and sounds like, you know what Bruce Willis looks and sounds like.
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Take time to truly look deep into the eyes of an individual and that is were you will truly see the soul of a person, do not be quick to judge strictly on being labeled!
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Two characteristic marks have above all others been recognized as distinguishing that which has soul in it from that which has not - movement and sensation.
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Similar things are drawn to each other.
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I always look to the eyes; they seem to be the one honest thing about a person.
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The idea which man forms of beauty imprints itself throughout his attire, rumples or stiffens his garments, rounds off or aligns his gestures, and, finally, even subtly penetrates the features of his face.
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If you know what you want, you will recognize it when you see it.
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There are things and there are faces which, when felt or seen for the first time, stamp themselves upon the mind like a sun image on a sensitized plate and there remain unalterably fixed.
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Some eyes threaten like a loaded and levelled pistol, and others are as insulting as hissing or kicking; some have no more expression than blueberries, while others are as deep as a well which you can fall into.
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The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitable objects is one of the most effective training grounds of the young mind.
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A visual sense is something you either have or you don't.
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If you analyse the function of an object, its form often becomes obvious.
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Once you start parsing a face, it's a peculiar item: squishy, pointy, with lots of air vents and wet spots.
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Their eyes find mine and they freeze. Emotions flicker across their faces quicker than I can identify, until finally they settle on one I recognize. One I see every time Miya looks at me. Love. - Dylan
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... consider the meaning of these images. Every time you're working with them, ask yourself: what do they mean? And, even more important, what do they mean to me? The more specific and personal something is, the more its universality emerges.
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The thing itself is one; the images are many. What leads to a perceptive understanding of the thing is not the focus on one image, but the viewing of many images together.
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The eye the point where a person's identity is concentrated.
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Significant images render insights beyond speech, beyond the kinds of meaning speech defines. And if they do not speak to you, that is because you are not ready for them, and words will only serve to make you think you have understood, thus cutting you off altogether.
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We are known to our friends by a look in our eyes that we never see in a mirror.
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The feeling we experience while we look at a picture is not to be distinguished from the picture or from ourselves. the feeling, picture, and ourselves are united in one mystery.
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When I see people on the street, I look at how they walk. It's like a signature, a fingerprint.
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I am a visual man. I watch, watch, watch. I understand things through my eyes.
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The picture itself is a document. How do you mean? We're looking at a document. It gives you clues.
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Do portraits of people in familiar and typical attitudes, above all give to their face the same choice of expression that one gives to their body.
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When David Marr at MIT moved into computer vision, he generated a lot of excitement, but he hit up against the problem of knowledge representation; he had no good representations for knowledge in his vision systems.
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It would not be easy, indeed, to catch their expression, but their colour and shape, and the eyelashes, so remarkably fine, might be copied.
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Be able to identify the most common breeds of dogs and cats on sight.
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What do you think is the world's most recognisable container of information? It's the human face. We are constantly reading each other and responding.
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My distinguishing feature is the gap between my teeth. I had to wear a brace because my teeth used to stick out like guns from a fortress.
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who can describe beauty? The reader may smile at this as the far-off echo of a precocious calf love, but he will be wrong. There are beauties so unambiguous that they need no lens of that kind to reveal them; they are visible even to the careless and objective eyes of a child.
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If I can assign names as well as pictures to objects, the right assignment of them we may call truth, and the wrong assignment of them falsehood.
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The whole value of science consists in the power which it confers upon us of applying to one object the knowledge acquired from like objects; and it is only so far, therefore, as we can discover and register resemblances that we can turn our observations to account.
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Identification prevents and perverts the flow of thought-feeling.
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I know everything I need to about a person by their hands. Eyes may be the window to ones soul but hands disclose the being.
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When the world throws you too much information, the only way you can stay sane or survive is to look for pattern recognition. Amidst all the blurs, is there a constellation that emerges, is there a straight line that's emerging?
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The power of recognition is one of the strongest forces for stimulating human and social action.
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Photographs objectify: they turn an event or a person into something that can be possessed.
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The quality of beauty lies on
how beholder values an object.
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What we need now is the description of the "describer" or, in other words, we need a theory of the observer.
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What escapes categorization can escape detection altogether
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For psychological purposes the most important differences in conation are those in virtue of which the object is revealed as sensed or perceived or imaged or remembered or thought.
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You're talking about meaning. I want to talk about the picture.
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I can spot a musical type. I can tell by looking at a woman whether she is a contralto or a soprano.
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The singular point of beautiful objects, and people, is that they are experienced not as parts, or ratios between cheekbones and chin, but as wholes. The experience of beauty is a perception, but it is one that mixes up various other sensations and makes them converge in a particular way.
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The countenance is the portrait of the soul, and the eyes mark its intentions.
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I look at characters to see if they have some contrasts to play with; I think that's always what I'm looking for in characters: ones that have a wide range of expression.
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When you see someone, all you see is what they let you see.
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Photographs speak to me, and I obey.
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All of us take an interest, to a greater or lesser extent, in what people around us look like, what they are doing, and why they are doing it.
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Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.
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I'm a visual person.
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Usually people like to categorise artists. With my films, I categorise people: if I know which one of my movies you like, I can tell which kind of a person you are.
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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.
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Photographs are detonators. They explode in us. We are the gaze as well as the gazed-at. The observer and the observed.
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In the dark you have to describe yourself. In the daylight other people describe you.
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Every image is to be seen as an object and every object as an image.
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The photograph as an object has a relationship to that which it represents something like the relationship the snake skin has to the snake that sheds it.
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There are parts of me I only recognize from photographs.
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I have a vision of life, and I try to find equivalents for it in the form of photographs.
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Only thought can resemble. It resembles by being what it sees, hears, or knows; it becomes what the world offers it.
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[Diontsos].
Swoony type,
long hair, bedroom eyes,
cheeks like wine.
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The human brain is an incredible pattern-matching machine.
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I try to construct a picture in which shapes, spaces, colors, form a set of unique relationships, independent of any subject matter. At the same time I try to capture and translate the excitement and emotion aroused in me by the impact with the original idea.
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I am interested in the paradox between identity and uniformity, in the power and vulnerability of each individual and each group. It is in this paradox that I try to visualize by concentrating on poses, attitudes, gestures, and gazes.
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I focus on details, either of the body, or of objects that represent gender, sexuality, and other themes.
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When you speak to any, especially of quality, look them full in the face; other gestures betraying want of breeding, confidence, or honesty; dejected eyes confessing, to most judgments, guilt or folly.
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How different a loved and familiar spot appears, when viewed with the eye of probable guests.
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I have found in my still-life work that I seem to be able to tell what objects are important to me by what tends to stay in the painting as it develops.
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The viewer must bring their own view to a photograph.
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Your Eyes, they talk to the Soul!
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You must look into people, as well as at them.
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As I have found out, recognition has its upside, its downside and - you may say - its backside.
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Every act is a visual judgement.
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You recognize a survivor when you see one. You recognize a fighter when you see one.
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The spaces between the perceiver and the thing perceived can [ ... ] be closed with a shout of recognition.
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You wouldn't know it, but I'm no good at recognising people; I have face blindness.
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Recognition lies in our natural desires
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The difference between the world of pictures and the world of printed matter is extraordinary and hard to define. A picture is like the masses: a multitude of impressions. A book on the other hand, with its linear advance of words and characters seems to be connected to individual identity.