Inspirational Camera Quotes

The best traveler is one without a camera.

All incidents which we experience are warily interpreted and translated in the dark chamber of our mind. They inspire us how to behave, how to think, how to act and prompt our predilections and our way of visualizing the world. The mind opens itself then to welcome the enchantments of life or to tear up destructive thinking patterns. The brain becomes truly a precious resilient partner. ( "Camera obscura of the mind" )

Your life is a movie. You are the main character. You say your scripts and act to your lines. Of course you do your lines in each scene. There is a hidden camera and a director who you can ask for help anytime up above.

Your eyes are not really windows through which you look out into the world. Your eyes are cameras that send electronic images of the world into you.

<...> though he found that if you are stupid enough to bury a camera underground you won't be taking many pictures with it afterwards. Thus the story has no picture book for the period May 10, 1991 - January 7, 1992. But this is not important. It is the experiences, the memories, the great triumphant joy of living to the fullest extent in which real meaning is found. God it's great to be alive! Thank you. Thank you.

Imagine a movie where the camera is shaking all the time. It would be the worst movie you've ever seen. You could barely focus on anything that's going on and you'd probably walk out in five minutes. Stillness is everything. It’s an opportunity to observe our chaotic mind and allow it to settle down no matter what else is happening around us.

Each time we use our cell phones, snap pictures with a camera, or use a search engine’s algorithms, we benefit from the legacy of Muhammad’s modern mindset. His mindset is not tied to Mecca or Medina, for as the Golden Age political philosopher Al-Farabi observed, “Medina is not a location but the manner in which a community comes together.” Indeed, people of any culture or race can establish a “place of flowing change.” As Muhammad declared in the final days of his life, “My progeny are those who uphold my legacy!

The second death. To think that you died and no one would remember you. I wondered if this was why we tried so hard to make our mark in America. To be known. Think of how important celebrity has become. We sing to get famous; expose our worst secrets to get famous; lose weight, eat bugs, even commit murder to get famous. Our young people post their deepest thoughts on public web sites. They run cameras from their bedrooms. It’s as if we are screaming Notice Me! Remember Me! Yet the notoriety barely lasts. Names quickly blur and in time are forgotten.

There was something else that [Christopher] Reeve told me privately, off camera, and it made me grin. While he was lying in the hospital, just becoming conscious with tubes connected to all parts of his body, a doctor in a white coat came in and with a Russian accent, commanded: "Turn over!" Are you nuts? Reeve thought. I said: 'Turn over!'" the doctor repeated. As Reeve was about to answer "the imbecile", he realized there was something familiar about the man in the white coat. He wasn't a doctor at all. He was Reeve's old buddy from acting school at Julliard, Robin Williams. Reeve waited for a breath, and almost choked with laughter. He realized, he told me, "If I can laugh, I can live.

Always take a picture for everywhere you go; if you don't, then all you just lost was the precious memories and moments

When you´re at the point you feel you have nothing to live or thrive fo, be like a camera, use your negatives to develop

Its not enough to just own a camera. Everyone owns a camera. To be a photographer you must understand, appreciate and harness the power you hold!

The best tourist is one without a camera

Beauty is the only human aspect which cannot be captured on any canvas howsoever hard an artist tries. At the most, the undaunted artist can replicate the beauty on paper but what is a replica in comparison to the original! The humbling resemblance can only be respected, not truly adored. Beauty cannot be imprisoned in the lens of a camera. The images of beauty are a moment of its essence. Beauty cannot be displayed to evoke pleasure for all on a cinema screen. Those are just its imprints, mere illusions of its existence. Beauty cannot be described by words; it cannot be written or read about. There are no suitable words in all the languages of the world, ancient or modern to hold it between a paper and a pen or a script and an eye. Beauty can only be experienced from far, its delightful aroma can only be tasted through one’s eyes and its pleasurable sight can only be felt from the soul. Beauty can only be best described at its origin through a befuddling silence, the kind that leaves one almost on the verge of a pleasurable death, just because one chooses beauty over life. There is nothing in this world to hold something so pure, so divine except a loving heart. And it is the only manner through which love recognises love; the language of love has no alphabet, no words.

Most of the movies are working like, 'Information, cut, information, cut, information, cut' and for them the information is just the story. For me, a lot of things [are] information - I try to involve, to the movie, the time, the space, and a lot of other things - which is a part of our life but not connecting directly to the story-telling. And I'm working on the same way - 'information, cut, information, cut,' but for me the information is not only the story.

When your heart jumps every time your camera locks focus...You've become a photographer.

Collect moments rather than things. Moments get away.

[…] there exists something beyond what we have in front of us. Something equally real, but that a camera cannot perceive. So I have to learn that sometimes it is necessary to give oneself up to the mystery. And accept that it is not granted to us to understand everything.

You might not see it now, but you are stronger than you can ever imagine. You cannot become comfortable in your pain. You have to let the pain that you feel turn you into a rose without thorns. There are sixteen pieces on the chess board. The king is the most important piece, but the difference is that the queen is the most powerful piece! You are a queen, you can maneuver around your opponents; they do not have the power over your life, your mind or soul. You might think you’ve been a prisoner, but that is your past’ Look in the now and work your way to how you want your future to be. Exercise your thoughts into a pattern of letting go, and think positively about more of what you want than what you do not want. Queen! You are a queen! As a matter of fact, you are the queen! Act as if you know it! You are powerful, determined, strong, and you can make the biggest and most extravagant move and put it into action. Lights, camera, strike a pose and own it! It is yours to own!

And my dream for you..........., is that you'll catch a glimpse of what I love so much about fashion: It's boldness and creativity, the confidence that it takes to stand before a camera and let your image be captured, even though you aren't perfect, the peace to be truly okay with how others see you.

I shall never forget the African torture victim, a young man no older than I was at the time, who had become mentally ill after all he had endured in his homeland. He trembled uncontrollably as he spoke into a video camera about the brutality inflicted upon him. He was a foot taller than I was, and seemed as fragile as a child. I was given the job of escorting him back to the Underground Station afterwards, and this man whose life had been shattered by cruelty took my hand with exquisite courtesy, and wished me future happiness.

Turn the TV off and read an inspiring book, it will make a difference behind the camera.

My mom’s smile is genuine, A lilac beaming In the presence of her Sun. Indentions in the sand prove Time’s linear progression, Her hair yet unblighted, Carrying midnight’s consistency. Clear tracks fading as the Movement slips further In the past. Cheekbones High, soft, In summer’s hue, Hopeful. Each step’s unknown impact, A future looking back. My father’s strength: One whose Life is in his arms. Squinting past the camera, He rests upon a rock Like caramel corn half eaten, Just to the left Of man-made concrete convention Daylight’s eraser Removing color to his right. Dustin sits In my father’s lap, Open mouth of a drooling Big mouth bass; Muscle tone Of a well exercised Jelly fish, He looks at me Half aware; His wheelchair Perched at the edge Of parking lot gravel grafted Like a scar on nature’s beach, Opening to the ironic splendor Of a bitter tasting lake. I took the picture. Age 11. Capturing the pinnacle arc Of a son To my lilac Who Outlived him and weeps, Still. Their sky has staple holes – Maybe that’s how the Light Leaked out.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

God, I bow my head and pray for your blessing today.

The best tourist is one without a camera.

Writing is like a camera. You see the world from a different lens.

SMILE! You are NOT on camera!

Success is like a camera. Focus on the objective. Concentrate on it. See your most important goal image for success. Ignore all distracting, minor details. Develop your pictures. If they don't turn out, stick to it. Take more shots for success. Be persistent. Focus on working to make things happen. Visualize optimum success. Use perseverance to achieve your goal.

One image for understanding this situation is to see the Holy Spirit as the photographer, and the evangelists and other inspired writers of the Old and New Testaments as different kinds of cameras. Cameras are available in many styles, from little disposable cameras to expensive 35 mm cameras with many lenses. Each type of camera reflects the truth of the scene, but its limits and strengths give a different type of photograph of that scene. So also with the divinely inspired writers of Scripture: Each of them tells the truth about what God shows them, but we would do well to understand how they look at things, their perspectives, and their limits.

The Loneliness of the Military Historian Confess: it's my profession that alarms you. This is why few people ask me to dinner, though Lord knows I don't go out of my way to be scary. I wear dresses of sensible cut and unalarming shades of beige, I smell of lavender and go to the hairdresser's: no prophetess mane of mine, complete with snakes, will frighten the youngsters. If I roll my eyes and mutter, if I clutch at my heart and scream in horror like a third-rate actress chewing up a mad scene, I do it in private and nobody sees but the bathroom mirror. In general I might agree with you: women should not contemplate war, should not weigh tactics impartially, or evade the word enemy, or view both sides and denounce nothing. Women should march for peace, or hand out white feathers to arouse bravery, spit themselves on bayonets to protect their babies, whose skulls will be split anyway, or,having been raped repeatedly, hang themselves with their own hair. There are the functions that inspire general comfort. That, and the knitting of socks for the troops and a sort of moral cheerleading. Also: mourning the dead. Sons,lovers and so forth. All the killed children. Instead of this, I tell what I hope will pass as truth. A blunt thing, not lovely. The truth is seldom welcome, especially at dinner, though I am good at what I do. My trade is courage and atrocities. I look at them and do not condemn. I write things down the way they happened, as near as can be remembered. I don't ask why, because it is mostly the same. Wars happen because the ones who start them think they can win. In my dreams there is glamour. The Vikings leave their fields each year for a few months of killing and plunder, much as the boys go hunting. In real life they were farmers. The come back loaded with splendour. The Arabs ride against Crusaders with scimitars that could sever silk in the air. A swift cut to the horse's neck and a hunk of armour crashes down like a tower. Fire against metal. A poet might say: romance against banality. When awake, I know better. Despite the propaganda, there are no monsters, or none that could be finally buried. Finish one off, and circumstances and the radio create another. Believe me: whole armies have prayed fervently to God all night and meant it, and been slaughtered anyway. Brutality wins frequently, and large outcomes have turned on the invention of a mechanical device, viz. radar. True, valour sometimes counts for something, as at Thermopylae. Sometimes being right - though ultimate virtue, by agreed tradition, is decided by the winner. Sometimes men throw themselves on grenades and burst like paper bags of guts to save their comrades. I can admire that. But rats and cholera have won many wars. Those, and potatoes, or the absence of them. It's no use pinning all those medals across the chests of the dead. Impressive, but I know too much. Grand exploits merely depress me. In the interests of research I have walked on many battlefields that once were liquid with pulped men's bodies and spangled with exploded shells and splayed bone. All of them have been green again by the time I got there. Each has inspired a few good quotes in its day. Sad marble angels brood like hens over the grassy nests where nothing hatches. (The angels could just as well be described as vulgar or pitiless, depending on camera angle.) The word glory figures a lot on gateways. Of course I pick a flower or two from each, and press it in the hotel Bible for a souvenir. I'm just as human as you. But it's no use asking me for a final statement. As I say, I deal in tactics. Also statistics: for every year of peace there have been four hundred years of war.

After my initial disappointment, I realized that Milicent being a normal, non-royal was more important to her position as a role model. It was more inspirational. She didn't have superpowers or a magic wand. She was simply intelligent and savvy and good at what she did. We need women to be allowed to be simply good at what they do. We need them on set, in meetings, behind cameras and pens and paintbrushes. We need them to be themselves, to be human: ordinary and flawed. That way, more girls can see them and think "I can do that." That way, no one can look at them and say " She got that job because she's beautiful. She got that gig because she slept with someone." Actually, she got hired because she was damn good.

Success can be compared to a camera. Always focus closely on your objective. Ignore distractions. Develop your pictures. If they don't turn out, take more shots for success. Visualize clearly what you want. Make success happen by being persistent.

Sharing a meal put people at ease, helped them forget the cameras were there, and inspired them to open up about their lives. Most importantly, food had become our cover, at least as far as I was concerned. In Iran and Laos, it was actually thought we were CIA like in the movie Argo. And in certain ways they were right. If it wasn’t for the cover of a “food show,” we never would have been able to get to the places we did. Season after season while planning the shoots, food had morphed from the show’s raison d’être to almost an afterthought. By the end, it was a show about people far more than one about food.

In the quest to create “safe schools,” students have become demoralized and criminalized. The presence of metal detectors, surveillance cameras, drug-sniffing dogs, harsh ticketing policies, and prison-inspired architecture has created a generation of students, usually poor and of color, who are always under surveillance and always under suspicion. These modes of controlling spaces and the youth within them normalize expectations of criminality, often fulfilled when everyday violations of school rules lead to ticketing, suspension, or worse, court summons and eventual incarceration—a direct path into the criminal justice system.…

Be honest with yourself. You were at your lowest and broken down. You were unsure and lost hope. You were hiding your fears until you showed them on your sleeve. You felt like everything and everyone was the hammer and you were the nail as they were beating down on you, and it was never-ending. Their empty threats had you scared and you were always running because your weakness was exposed. You were their prey. You didn’t know who to believe because of their mixed signals. You might not see it now, but you are stronger than you can ever imagine. You cannot become comfortable in your pain. You have to let the pain that you feel turn you into a rose without thorns. There are sixteen pieces on the chessboard. The king is the most important piece, but the difference is that the queen is the most powerful piece! You are a queen, you can maneuver around your opponents; they do not have the power over your life, your mind or soul. You might think you’ve been a prisoner, but that is your past’. Look in the now and work your way to how you want your future to be. Exercise your thoughts into a pattern of letting go, and think positively about more of what you want than what you do not want. Queen! You are a queen! As a matter of fact, you are the queen! Act as if you know it! You are powerful, determined, strong, and you can make the biggest and most extravagant move and put it into action. Lights, camera, strike a pose and own it! It is yours to own! Yes, you loved and loved so much. You also lost as well, but you lost hurt, pain, agony, and confusion. You’ve lost interest in wanting to know answers to unanswered questions. You’ve lost the willingness to give a shit about what others think. You’ve surrendered to being fine, that you cannot change the things you have no control over. You’ve lost a lot, but you’ve gained closure. You are now balanced, centered, focused, and filled with peace surrounding you in your heart, mind, body, and soul. Your pride was hurt, but you would rather walk alone and be more willing to give and learn more about the queen you are. You lost yourself in the process, but the more you learn about the new you, the more you will be so much in love with yourself. The more you learn about the new you, the more you will know your worth. The more you learn about the new you, the happier you are going to be, and this time around you will be smiling inside and out! The dots are now connecting. You feel alive! You know now that all is not lost. Now that you’ve cut the cord it is time to give your heart a second chance at loving yourself. Silence your mind. Take a deep breath and close your eyes. As you open your eyes, look at your reflection in the mirror. Aren’t you beautiful, Queen? Embrace who you are. Smile, laugh, welcome the new you and say, “My world is just now beginning.

Being a business buff, I knew that Japanese cameras had made deep cuts into the camera market, which had once been dominated by Germans. Thus, I argued in my paper that Japanese running shoes might do the same thing. The idea interested me, then inspired me, then captivated me. It seemed so obvious, so simple, so potentially huge. I’d spent weeks and weeks on that paper. I’d moved into the library, devoured everything I could find about importing and exporting, about starting a company. Finally, as required, I’d given a formal presentation of the paper to my classmates, who reacted with formal boredom. Not one asked a single question. They greeted my passion and intensity with labored sighs and vacant stares. The professor thought my Crazy Idea had merit: He gave me an A.

Perchè il miracolo di illuminarlo lei non può compierlo. Non ha alcun potere su di lui, perchè leui non crede a niente, nemmeno all'inferno. Lui pensa che la vita non sia una punizione, ma una ricompensa. Fuggevole, ma sempre un premio che ciascunnuomo deve meritarsi. Lui crede che l'uomo abbia un grande destino e un grande destino credeva che avrebbe avuto lui stesso. Un'opera, un'opera che ancora non è scaturita da lui, ma che pure è dentro di lui come la perla in un'ostrica. L'inferno è per lui l'assenza di futuro, è questo presente nebbioso e stagnanate, è l'indebolirsi delle convinzioni, delle idee, della fiducia nella vita e più ancora nel proprio talento. L'inferno è sentir ribollire in sè un magma infuocato di ipotesi, di idee e della fiducia nella vita e non riuscire a esprimerne nessuno: vedere quelle ipotesi, idee e sentimenti oscurarsi, appassire, tramontare e dissoversi senza aver mai visto la luce. L'inferno è lo sperpero dei propri giorni, è la mediocrità della propria anima votata alla dissoluzione. L'inferno è questa inerziale assenza di tempo, è l'esilio dall'essere e dall'eternità.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons. Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May. Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923. As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

Prugo gazes at his image onscreen, cocking his head this was and that, making "sexy" faces, checking himself out. Inspired, he gets up and lifts up his shirt, showing off his bare midriff. Then he turns around and does a booty dance for the camera.

So, judges, what was your favorite dish?" The producer stepped back so the cameras could pan over the long table. Tarquin answered. "A crisp almond tart." Sophia's heart began to pound. "Smooth lemony custard. Light as air." She clenched the edge of her worktable. "Only one person chose the boysenberries as an ingredient today. They were ripe, juicy, bursting with flavor. But somewhat difficult to wrestle with in terms of tartness. This contestant made a truly inspired syrup, infused with basil... and lemon thyme, I think." Jonathan shrugged. "I can't wait to find out how this syrup was created." Sophia started to sway. The blogger smiled. "I love lemon. It's bright. It's sunny. But I don't have a big sweet tooth. This dish was not too sweet. It was lovely." "And best of all," Tarquin interrupted, "a little surprise under the tart. Hidden. Using the organic bittersweet chocolate we provided. Well played." "And the flowers!" Jenny sighed. "This plate captures the very essence of summer. Sprinkled with flower petals.

If you had an Internet connection and lived in North America at the time, you may have seen it. Vasquez is the man behind the “Double Rainbow” video, which at last check had 38 million views. In the clip, Vasquez pans his camera back and forth to show twin rainbows he’d discovered outside his house, first whispering in awe, then escalating in volume and emotion as he’s swept away in the moment. He hoots with delight, monologues about the rainbows’ beauty, sobs, and eventually waxes existential. “What does it mean?” Vasquez crows into the camera toward the end of the clip, voice filled with tears of sheer joy, marveling at rainbows like no man ever has or probably ever will again. It’s hard to watch without cracking up. That same month, the viral blog BuzzFeed boosted a different YouTuber’s visibility. Michelle Phan, a 23-year-old Vietnamese American makeup artist, posted a home video tutorial about how to apply makeup to re-create music star Lady Gaga’s look from the recently popular music video “Bad Romance.” BuzzFeed gushed, its followers shared, and Lady Gaga’s massive fanbase caught wind of the young Asian girl who taught you how to transform into Gaga. Once again, the Internet took the video and ran with it. Phan’s clip eventually clocked in at roughly the same number of views as “Double Rainbow.” These two YouTube sensations shared a spotlight in the same summer. Tens of millions of people watched them, because of a couple of superconnectors. So where are Vasquez and Phan now? Bear Vasquez has posted more than 1,300 videos now, inspired by the runaway success of “Double Rainbow.” But most of them have been completely ignored. After Kimmel and the subsequent media flurry, Vasquez spent the next few years trying to recapture the magic—and inadvertent comedy—of that moment. But his monologues about wild turkeys or clips of himself swimming in lakes just don’t seem to find their way to the chuckling masses like “Double Rainbow” did. He sells “Double Rainbow” T-shirts. And wears them. Today, Michelle Phan is widely considered the cosmetic queen of the Internet, and is the second-most-watched female YouTuber in the world. Her videos have a collective 800 million views. She amassed 5 million YouTube subscribers, and became the official video makeup artist for Lancôme, one of the largest cosmetics brands in the world. Phan has since founded the beauty-sample delivery company Ipsy.com, which has more than 150,000 paying subscribers, and created her own line of Sephora cosmetics. She continues to run her video business—now a full-blown production company—which has brought in millions of dollars from advertising. She’s shot to the top of a hypercompetitive industry at an improbably young age. And she’s still climbing. Bear Vasquez is still cheerful. But he’s not been able to capitalize on his one-time success. Michelle Phan could be the next Estée Lauder. This chapter is about what she did differently.

Photographers are writers- Writers are photographers: we catch a glimpse of something beautiful – a flower, a glance, a window – and catch it into our camera or writing lens: add a bit of glimmer, a ghost of shadow, allowing the background to sink into fuzziness while focusing on the sharp beauty; thus, we highlight the romance of life.

Having a camera is not enough. You must understand, appreciate, and harness the power you hold!

The celebs I hate are the manufactured celebs. Famous people are surrounded by parasites and cocksuckers - people who hope to make a bit out of it themselves or grab a few crumbs from the table. But a while back one of these parasites figured out "why go through all the hard work of trying to discover a talented sucker before somebugger else does?". "Why not just CREATE one, right here, right now?". So they pick someone who maybe owns one or two bits of the celebrity toolbox - an arse that doesn't look like it fell off the back of a refuse truck, or a complete lack of self-consciousness - and teach them to simulate the other bits. It works fine for the cameras, but when you meet them in real life - oh dear.

A picture is a picture, it doesn't matter what camera you use!" - Chris Geiger

Life is like a camera. Focus on what's important and capture the good times.

Success is like a camera. Just focus and concentrate on the objective. See what is your most important goal image for success, and ignore distracting details. Develop your pictures. If they don't turn out, keep at it. Take more shots and be persistent. Focus on making success clearly happen. Use perseverance.

Digital technology offers new, imaginative ways to connect personally and powerfully with potential customers in traditional ways like direct marketing. A great example of this comes from a Toronto Porsche dealer who went around some of the Canadian city’s most affluent neighborhoods with a shiny white 911 sports car, a digital camera, and a mobile printer. Taking photographs of the brand new vehicle parked in the driveways of these upscale homes, the dealer printed out custom ads and dropped them into the mail slots. The campaign featured the provocative headline: “It’s closer than you think.” The result was an astonishing 32 percent response rate, which means about a third of these prospects called to schedule a test drive, a staggering improvement over the very low single digit response rates typically deemed successful in traditional direct mail efforts.

Modern biomimicry is far more than just copying nature's shapes. It includes systematic design and problem-solving processes, which are now being refined by scientists and engineers in universities and institutes worldwide. The first step in any of these processes is to clearly define the challenge we're trying to solve. Then we can determine whether the problem is related to form, function, or ecosystem. Next, we ask what plant, animal, or natural process solves a similar problem most effectively. For example, engineers trying to design a camera lens with the widest viewing angle possible found inspiration in the eyes of bees, which can see an incredible five-sixths of the way, or three hundred degrees, around their heads. The process can also work in reverse, where the exceptional strategies of a plant, animal, or ecosystem are recognized and reverse engineered. De Mestral's study of the tenacious grip of burrs on his socks is an early example of reverse engineering a natural winner, while researchers' fascination at the way geckos can hang upside down from the ceiling or climb vertical windows has now resulted in innovative adhesives and bandages. Designs based on biomimicry offer a range of economic benefits. Because nature has carried out trillions of parallel, competitive experiments for millions of years, its successful designs are dramatically more energy efficient than the inventions we've created in the past couple of hundred years. Nature builds only with locally derived materials, so it uses little transport energy. Its designs can be less expensive to manufacture than traditional approaches, because nature doesn't waste materials. For example, the exciting new engineering frontier of nanotechnology mirrors nature's manufacturing principles by building devices one molecule at a time. This means no offcuts or excess. Nature can't afford to poison itself either, so it creates and combines chemicals in a way that is nontoxic to its ecosystems. Green chemistry is a branch of biomimicry that uses this do-no-harm principle, to develop everything from medicines to cleaning products to industrial molecules that are safe by design. Learning from the way nature handles materials also allows one of our companies, PaxFan, to build fans that are smaller and lighter while giving higher performance. Finally, nature has methods to recycle absolutely everything it creates. In natures' closed loop of survival on this planet, everything is a resource and everything is recycled-one of the most fundamental components of sustainability. For all these reasons, as I hear one prominent venture capitalist declare, biomimicry will be the business of the twenty-first century. The global force of this emerging and fascinating field is undeniable and building on all societal levels.

Success is like a camera. Focus and concentrate on the objective. See your most important goal image for success, and ignore distracting details. Develop your pictures. If they don't turn out, keep at it. Take more shots and be persistent. Focus on making success clearly happen. Visualize optimum success and use perseverance.

So many cameras are on me. This press conference is going to be on every news channel and posted on the internet. Thousands, maybe millions of people will see me. And they will all be thinking: Victim. Victim. Victim.

No words in our ledgers could do justice to this sublime beauty,” Captain Lewis said. “The expedition should have brought a camera obscura.” Peter wasn’t familiar with the words, but no matter. He knew he was part of something magnificent—something greater than himself or the Corps of Discovery. And he knew what it was. It was America. And it was beautiful.

Life is so fast it's a camera flash

Real innovation changes the course of industries or even society. The light bulb, the microwave oven, the fax machine, iTunes. These are true innovations that changed how we conduct business, altered how we live our lives, and, in the case of iTunes, challenged an industry to completely reevaluate its business model. Adding a camera to a mobile phone, for example, is not an innovation—a great feature, for sure, but not industry-altering.

I wished I could paint this ineffable beauty but I had never been artistic. I hadn’t even packed a camera, and my phone was out of charge. It didn’t matter. I just breathed in the feeling, savouring it. Suddenly I knew that I’d enjoy many more moving moments and visions of beauty, and that they’d sustain me for the rest of my life.

You see, i f you have t rue photographic vision, you have clar i ty and i f you have clarity, you don't need to explain or defend your images. Clar i ty is about what emot ions or feel ings the image is t rying to evoke, not the fact s behind the image. Photographic clar i ty is about passion of purpose. I t 's about a single-minded desi re to protect a memory. I t 's about story tel l ing wi th a camera that 's so power ful , no words are necessary.

Perchè il miracolo di illuminarlo lei non può compierlo. Non ha alcun potere su di lui, perchè lui non crede a niente, nemmeno all'inferno. Lui pensa che la vita non sia una punizione, ma una ricompensa. Fuggevole, ma sempre un premio che ciascun uomo deve meritarsi. Lui crede che l'uomo abbia un grande destino e un grande destino credeva che avrebbe avuto lui stesso. Un'opera, un'opera che ancora non è scaturita da lui, ma che pure è dentro di lui come la perla in un'ostrica. L'inferno è per lui l'assenza di futuro, è questo presente nebbioso e stagnanate, è l'indebolirsi delle convinzioni, delle idee, della fiducia nella vita e più ancora nel proprio talento. L'inferno è sentir ribollire in sè un magma infuocato di ipotesi, di idee e della fiducia nella vita e non riuscire a esprimerne nessuno: vedere quelle ipotesi, idee e sentimenti oscurarsi, appassire, tramontare e dissolversi senza aver mai visto la luce. L'inferno è lo sperpero dei propri giorni, è la mediocrità della propria anima votata alla dissoluzione. L'inferno è questa inerziale assenza di tempo, è l'esilio dall'essere e dall'eternità.

One hundred and eighty-eight years ago this week, a small band of valiant men began a long struggle for freedom," he told television cameras. "Now our generation of Americans has been called on to continue the unending search for justice within our own borders." (quoting, President Lyndon B. Johnson)

Ne lăsăm fascinați de ispita de a juca un rol excepțional, în loc să observăm că fericirea e de obicei mediocră. Ne furăm singuri, ne frustrăm singuri. În loc să intrăm pur și simplu în țara făgăduinței care se află la îndemână, la colțul străzii sau chiar în camera noastră. Alergăm după vanități ieșite din comun.

Office reformers are pulled in two directions. They either follow Frederick Taylor (the father of scientific management) and the successive waves of management scientists who thought that with enough overhead cameras, spreadsheets, computing power, and analysis, they could “solve” the organization and its problems. Or they follow the dreamers of the 1970s and ’80s, who, inspired by the cybernetic-counterculture movement, thought that by getting rid of that same organizational infrastructure, they could free workers to reach their full potential by embracing chaos, complexity, new technology, or all three.

Our philosophy is that home decor shouldn’t be taken too seriously, because we want our homes to reflect who we are, no one else. We want things to be fun and interesting, but we want things we can really live with and around. We want a place where you can use Play-Doh or prop up crusty old cowboy boots on the coffee table. We’re not afraid of candle drippings or drink rings. We believe all these things help our homes tell a tale of love and family. A tale of history and future. A tale of the American experience. Our homes spin the story we want to live in every day. We firmly believe your home should be your sanctuary, where you surround yourself with every sensible and nonsensible thing you love, a place that speaks of where you’ve been and where you’re going. Make no mistake: Our homes are far from perfect! Just beyond the frame of every camera angle is a pile of dirty clothes, three half-unpacked suitcases, and a room still waiting to be decorated. Because that, my friends, is real. C’mon in anyway and stay awhile. Our hope is that you’ll find an idea—a project, a picture, a spark of divine fire—that will inspire you. Because just like the wild woods or the glorious road, like fingerprints or feathers, your home is unique—and it should be uniquely you.

If it can happen in your mind, it can happen in your camera

Basically, I reinvented myself through my punk experience. Think about it. I was this guy in dark glasses managing a shop. Then punk came along and I thought, Fuck me, I’m going to have some of that! I had to feel like I was contributing. I picked up the camera, made The Punk Rock Movie, and documented all the events I thought were interesting and ridiculous. My movie was an example of the whole movement. I was inspired to do it. It became The Punk Rock Movie

The war against the crime syndicate in Chicago never ends. Those who attended the wedding of Tony Accardo’s kid were inspired after they saw how the battle is being waged. Long before the wedding began, dozens of law enforcement agents poured into the area around St. Vincent Ferrer Church on North Avenue, a few blocks west of Harlem. Veteran crime syndicate observers were quick to spot the FBI, the Secret Service, the Chicago Police Undercover Unit, the Crime Commission, and the Quickie Credit-Check Service. This phase of the never-ending battle against the gang-lords is fought, not with guns, but with notebooks and cameras. Nobody knows if this is effective against the mob, but at least no cops got shot in the foot.

Know your words and don't bump into the furniture.

an ancient 4x4, a pair of binoculars, a camera, a tyre compressor pump, jumper leads and a can opener are my most treasured possessions.

Mothers used to instruct their daughters, “This one has potential. If you work with this one, you’ll have a winner on your hands.” Well, that certainly doesn’t happen anymore! Women today want their men to arrive camera-ready! But who said you were perfect? Don’t think about changing or rearranging him. Concentrate on inspiring him and empowering him to rise up and be all that God has ordained him to be. Some women I know have initially passed right by their [future] husbands because he wasn’t perfectly polished. You don’t think all these successful men in the world started off that way, do you? Of course not! They climbed and climbed until they reached their goal. And most likely some woman was right there beside him all the way. Now those women get to reap the rewards. And that reward is so much greater if he’s a man of God.

after years of continuously working in front of screens. Although he used his phone to capture precious moments with his children, stay connected with family, and engage with social media, he couldn't shake the feeling that screens had become an outsized part of his parenting. "One of the biggest mistakes I made during the pandemic was buying an iPad," he admitted. "It became a crutch when I didn't feel like being present or when one of my younger ones became difficult to handle. I kept using the screen as a pacifier, rather than introducing proper ways to deal with boredom and their high energy levels." Growing up, Jason had fond memories of playing catch with his dad, creating scrap albums, and watching photos develop in his father's darkroom studio. "It taught me patience, curiosity, and precision,” he recalled. "It helped me become very careful when writing code and trying to get it right the first time." Inspired by these cherished memories, Jason resolved to reintroduce more analog activities into his family's daily life. He purchased a film camera, set up a darkroom in their home, and acquired puzzles for his younger children. Over the next two years, Jason noticed a significant improvement in his connection with his children as they bonded over these analog pastimes. As his children prepared for high school, he felt ready

The world speaks to us in different ways at different times of our lives, and in some small ways I honour that, by raising the camera and pressing the shutter.

The award-winning American TV series Breaking Bad has a scene in its second season set in the murder capital of Ciudad Juárez. In this episode, American and Mexican agents are lured to a patch of desert just south of the border looking for an informant. They discover the informant’s head has been cut off and stuck on the body of a giant turtle. But as they approach, the severed cranium, turned into an IED, explodes, killing agents. The episode was released in 2009. I thought it was unrealistic, a bit fantastic. Until July 15, 2010. In the real Ciudad Juárez on that day, gangsters kidnapped a man, dressed him in a police uniform, shot him, and dumped him bleeding on a downtown street. A cameraman filmed what happened after federal police and paramedics got close. The video shows medics bent over the dumped man, checking for vital signs. Suddenly a bang rings out, and the image shakes vigorously as the cameraman runs for his life. Gangsters had used a cell phone to detonate twenty-two pounds of explosives packed into a nearby car. A minute later, the camera turns back around to reveal the burning car pouring smoke over screaming victims. A medic lies on the ground, covered in blood but still moving, a stunned look on his face. Panicked officers are scared to go near him. The medic dies minutes later along with a federal agent and a civilian. I’m not suggesting that Breaking Bad inspired the murders. TV shows don’t kill people. Car bombs kill people. The point of the story is that the Mexican Drug War is saturated with stranger-than-fiction violence. Mexican writer Alejandro Almazán suffered from a similar dilemma. As he was writing his novel Among Dogs, he envisioned a scene in which thugs decapitate a man and stick a hound’s head on his corpse. It seemed pretty out there. But then in real life some gangsters did exactly that, only with a pig’s head. It is just hard to compete with the sanguine criminal imagination. Cartel thugs have put a severed head in a cooler and delivered it to a newspaper; they have dressed up a murdered policeman in a comedy sombrero and carved a smile on his cheeks; and they have even sewn a human face onto a soccer ball.

If I could get to know every person on this planet, I would. I crave continuous learning and human growth. I want to be the best that I can be and I want to inspire others around me to be the best that they can be.

Everyone has a story. It's what you do with your story and what you take away from it that's important.

GRIDLOCK. THAT WAS THE SHORTHAND REPORTERS USED. BUT IT wasn’t quite right. Gridlock is an accident, an inconvenience. What happened on Capitol Hill was a strategy, and its architect was Kentucky senator Mitch McConnell. McConnell’s tactics were informed by a pair of brilliant, if somewhat evil, insights. The first was that Americans hold their president almost entirely responsible for the performance of the government as a whole. Under his direction, Republicans in Congress behaved like offensive linemen hoping to get their quarterback fired. They knew failing to do their jobs would make them look bad. But they also knew POTUS would take the hit. No matter who caused the loss, Obama’s name would wind up with an L beside it. McConnell’s second insight was that, if he was shameless enough for long enough, he would never get the comeuppance he deserved. Some political reporters slant left, others right, but what unites them is the desire to break new stories. Kick a puppy live on camera, and everyone will cover it. Kick a puppy per day, and steadfastly refuse to apologize, and within two weeks the press moves on. This is what happened, metaphorically at least, in the fall of 2011. Republicans voted in lockstep against funding for teachers, cops, firefighters, and laid-off construction workers. These were causes that once inspired compromise. Everyone was shocked to see lawmakers from either party oppose them. But the surprise wore off. With frightening speed, obstruction became the new normal. Reporters might as well have written about the sun rising in the east.

Begitu santainya mengintip kini. Tak lagi ada was-was tepergok. Orang pun bisa memutar ulang apa yang diintip tiap kali dikehendaki. Intipan kini adalah komoditas. Berdesakan di rak-rak dan hamparan tikar dan plastik yang berderet di sepanjang tepi jalan raya, di hadapan pertokoan dan pasar. Dirubung pembeli. Bulan pernah dengan agak malu menjadi salah satu di antara yang merubung itu. Kini akankah dia dan Panca yang dirubung pembeli di pinggir-pinggir jalan dan emper toko, dari Glodok hingga kota-kota lain di pelosok?

Life can look beautiful, or life can look sad; it depends on where you aim your camera!

To take photographs,” wrote Henri Cartier-Bresson, “is to hold one’s breath when all faculties converge in the face of fleeing reality. . . . It is putting one’s head, one’s eyes and one’s heart on the same axis. . . . It is a way of shouting, of freeing oneself, not of proving or asserting one’s originality. It is a way of life.” These words of the renowned French photographer define photography as an ongoing meditative relationship to the world. For Cartier-Bresson, photography is not merely a profession but a liberating engagement with life itself, the camera not just a machine for recording images but “an instrument of intuition and spontaneity.”1 To be moved to take photographs, like being inspired to practice meditation, is to embark on a path. In both cases you follow an intuitive hunch rather than a carefully considered decisioṇ Something about “photography” or “meditation” draws you irresistibly. While you may initially justify your interest in these pursuits with clear and compelling reasons, the further you proceed along their respective paths, the less you need to explain yourself. The very act of taking a photograph or sitting in meditation is sufficient justification in itself. The notion of an end result to be attained at some point in the future is replaced by an understanding of how

Life had taught me that it is possible that things, ideas, concepts, and feelings can mean the opposite of what might seem apparent. It was possible for people to be the opposite of what they claimed. It was possible for 'home' to signify 'exile' and vice versa. Laughter may be tears in disguise. Revolutions could be about oppressive powers pulling the carpet from under the feet of other oppressors. Climbing to the top might not really mean 'going up,' it could in fact be a harsh form of falling; reaching the pinnacle of fame, surrounded by camera flashes has led to the demise of countless souls on this planet. In brief, it was possible that everything we are told and taught is the opposite of what we think, or that it might be outright false.

Life is like a camera. Focus on what’s important. Capture the good times. Develop from the negatives. And if things don’t work out, take another shot.

She was okay,” I say. Ryot roars. “You’re such a goddamn liar.” I shrug. “I mean, yeah, she had a nice eyeball.” Ryot throws a towel at me from his locker, still laughing. “Fuck you. A nice eyeball. Just one of her eyeballs is nice?” “If I hit the ball tonight, it’s because of her right eyeball. Really got my juices flowing,” I deadpan. “You’re such a shithead.” “Nah, if I hit the ball tonight, it’s for one reason and one reason alone—because I worked my ass off in the cages today.” Ryot rolls his eyes. “Always so fucking serious. Why don’t you romanticize your story a bit? Think about the media coverage you could get.” Ryot steals my bat, holds it up to his mouth like a microphone, and then clears his throat. “Walker Rockwell, you went three for four today with a homerun and three RBIs. What can you attribute to your success today?” He turns his hat around and scratches his jaw. Is that supposed to be me? “Her name is Kate, and her right eyeball enticed me so much, I found myself inspired to find my bat again. Shout-out to Kate Chapman and her spherical sense receptor for vision.” He winks and then shoots a gun at the “camera.” “Now that’s a story.” I stare at him blankly. Blink. Shake my head. “You need fucking help.” I turn toward my locker, where I start mentally preparing for the game.

Metamorphosis is a key theme in Burroughs’ life and work. Often his efforts were directed at himself, though he also sought to transform the outside world by cutting up, rearranging, and playing back its artifacts—namely, text, image, and sound. Burroughs’ ideas and techniques can be applied in many different contexts, music among them. Of course, one must have the proper tools. For Burroughs, these were his typewriter, tape recorders, camera, scissors, and voice. We can think of them as Burroughs’ divine weapons, which he used to assert his visions upon reality. This is a fundamentally occult conceit. Drawing inspiration and energy from symbols, sigils, recitation, and charged objects, practitioners enter non-normative states during which their will—or desire—is projected into the day-to-day world where it is meant to have an impact. The effectiveness of a creative or magical act is a matter of sticking the mark. A curse needs an objective, just as a work of art needs an audience. A bullet requires a target. The circuit finds its path to completion.

There it was. The HR robot. It swung the door open so efficiently that the room’s air remained as still as a cat in a gutter. When Valerie caught a full glimpse of its white plastic face and silver minimalist body, which didn’t even try to cover up its essential wires, her sense of unease morphed into panic. The robot closed the door, then sat beside the man who controlled its every move. Valerie dared not make eye contact with the robot for fear of revealing her weaknesses to its all-seeing eyes, or rather, cameras.

There it was. The HR robot. It swung the door open so efficiently that then room’s air remained as still as a cat in a gutter. When Valerie caught a full glimpse of its white plastic face and silver minimalist body, which didn’t even try to cover up its essential wires, her sense of unease morphed into panic. The robot closed the door, then sat beside the man who controlled its every move. Valerie dared not make eye contact with the robot for fear of revealing her weaknesses to its all-seeing eyes, or rather, cameras.

Being a business buff, I knew that Japanese cameras had made deep cuts into the camera market, which had once been dominated by Germans. Thus, I argued in my paper that Japanese running shoes might do the same thing. The idea interested me, then inspired me, then captivated me. It seemed so obvious, so simple, so potentially huge.

Pursuit Rampage: High-Speed Chaos on the Streets Unleash Mayhem in the Ultimate Police Chase Game Pursuit Rampage is a high-octane action game where speed, destruction, and chaos come together in a thrilling urban chase. In this fast-paced browser game, players take control of a getaway vehicle, racing through city streets while dodging relentless police units and causing as much destruction as possible. The game offers an intense blend of arcade-style driving and adrenaline-pumping pursuit action. Fast Cars, Explosive Gameplay The core of Pursuit Rampage is simple: outrun the cops and survive for as long as you can. But surviving is not easy. Police vehicles will ram, trap, and outnumber you at every corner. You’ll need sharp reflexes, quick thinking, and aggressive driving to keep going. Smash through traffic, drift around corners, and leave destruction in your wake as you fight to stay ahead. Power-ups and bonuses appear along the way to help you extend your rampage. These might include speed boosts, armor upgrades, or weapons that let you fight back against the incoming law enforcement vehicles. The more chaos you cause, the higher your score—and the bigger the challenge becomes. Stunning Urban Environments Pursuit Rampage features colorful, stylized city environments filled with traffic, roadblocks, and interactive elements. From narrow alleys to wide highways, every part of the map is designed to keep the action flowing. The visuals are crisp, vibrant, and optimized for performance on browsers, allowing players to dive into the chase without needing to download anything. The dynamic camera angles and responsive controls enhance the sense of speed and urgency, making each police chase feel like a scene from an action movie. Built for Instant Play One of the biggest strengths of Pursuit Rampage is its accessibility. The game is built for browser play, meaning there’s no need to download or install anything. Just load the game and start driving. It runs smoothly on both desktop and mobile devices, making it perfect for quick gaming sessions or longer playthroughs. The intuitive controls ensure that anyone can pick up and play immediately, while the increasing difficulty keeps the gameplay challenging and addictive. Perfect for Action Game Fans If you enjoy games that combine speed, destruction, and endless challenges, Pursuit Rampage is for you. It takes inspiration from classics like car chase arcade games and brings them into a modern, fast-paced browser format. Each run offers new obstacles, more aggressive enemies, and more explosive moments. Whether you’re competing for a high score, chasing achievements, or just blowing off steam with some high-speed mayhem, Pursuit Rampage delivers nonstop entertainment. Conclusion Pursuit Rampage is more than just a car chase game—it’s a wild, chaotic experience that rewards bold driving and quick reflexes. With smooth browser-based performance, explosive action, and endless replay value, it’s an ideal choice for players who love high-speed thrills and urban destruction. Jump in, start your engine, and see how long you can outrun the law.