Leonard Nimoy Quotes About Inspiration
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I could not deprive you of the revelation of all that you could accomplish together, of a friendship that will define you both in ways you cannot yet realize.
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I became enamored with photography when I was about 13 or 14 years old. I've been at it ever since. I studied seriously in the '70s.
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Other times, you're doing some piece of work and suddenly you get feedback that tells you that you have touched something that is very alive in the cosmos.
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I'm touched by the idea that when we do things that are useful and helpful - collecting these shards of spirituality - that we may be helping to bring about a healing.
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Whatever I have given, I have gained.
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I'm not an equipment nut. I tend to use whatever's at hand. I have several cameras, of course, but I'm not emotional about any of them
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Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
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I have a Master's Degree in photography as a fine art, and I would call my work primarily conceptual. I don't carry cameras with me wherever I go. I get an idea of a subject matter I want to deal with and I pull out my cameras.
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Art, if it is successful, needs no explanation. Star Trek and Spock, if they are works of art, can be discussed. But finally the response comes in individual terms. Each viewer sees what is there for him, depending on his frame of reference.
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In critical moments, men sometimes see exactly what they wish to see.
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That's true, because I'm a photographer now.
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Years ago - in the 70s, for about a decade - I carried a camera every place I went. And I shot a lot of pictures that were still life and landscape, using available light.
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That's the most difficult issue for me - to find a subject that holds my interest long enough that I'm prepared to go to work and spend the time and energy to shoot the subject.
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My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.
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After a time, you may find that having is not so pleasing a thing after all as wanting. It is not logical, but is often true.
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The means of many outweigh the means of the few or one.
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I became hooked on the idea of being able to shoot an image and process it myself, and end up with a product.
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My memory of those places is better than my pictures. That's why I get much more satisfaction out of shooting thematic work that has to do with an idea that I'm searching for, or searching to express.
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I deal with this spiritual issue every day - either shooting or processing or sorting or discussing or having conversations - I'm in constant contact with it.
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I also do my own processing, so it means a big commitment in lab time.
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May I say that I have not thoroughly enjoyed serving with humans? I find their illogic and foolish emotions a constant irritant.
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But if you're talking about fine art work, then I think you have to ask yourself some pretty deep questions about why it is you want to take pictures and what it is you want to say.
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What I'm exploring right now is the subject of my own mortality, It's an area that I'm curious about, and I'm researching it to see if there's a photographic essay in it for me. If images don't start to come, I'll go to something else.
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Spock is definitely one of my best friends. When I put on those ears, it's not like just another day. When I become Spock, that day becomes something special.
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I began working with a family camera. It was called a Kodak Autographic, which was one of those things where you flopped it open and pulled out the bellows. And I've been at it ever since - I've never stopped
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I certainly don't live in a kosher home although I was raised in a kosher environment.
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I think about myself as like an ocean liner that's been going full speed for a long distance, and the captain pulls the throttle back all the way to 'stop', but the ship doesn't stop immediately. It has its own momentum and it keeps on going, and I'm very flattered that people are still finding me useful.
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Boston was a great city to grow up in, and it probably still is. We were surrounded by two very important elements: academia and the arts. I was surrounded by theater, music, dance, museums. And I learned how to sail on the Charles River. So I had a great childhood in Boston. It was wonderful.
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A neighborhood friend showed me how it was possible to go to a camera shop and pick up chemicals for pennies... literally... and develop your own film and make prints.
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I did not move into developing or processing color. I stayed with black and white. I still think to this day that I prefer to work in black and white if it has to do with poetry or anything other than specific reality. I have worked in color when I thought it was the appropriate way to express the thought that I was working on
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