Before And After Picture Quotes & Sayings

What i Like about Photography is that it takes moments that should have been forgotten, and just Freezes them, and allows us to share it with everyone and share it with future generations. But theirs is also the sense of Secrets of the picture, or the stuff you don't know, or don't see. You don't really know what happened before or after a picture its like time is just frozen in that moment. — Jesus Holguin

I drove off, with my friends watching me go, all of them grouped on Lissa's hood. As I pulled onto the road, I glanced into the rearview and saw them: they were waving, hands moving through the air, their voices loud, calling out after me. The square of that mirror was like a frame, holding this picture of them saying good-bye, pushing me forward, before shifting gently out of sight, inch by fluid inch, as I turned away. — Sarah Dessen

When Pope Pius XII died, LIFE magazine carried a picture of him in his private study kneeling before a black Christ. What was the source of their information? All white people who have studied history and geography know that Christ was a black man. Only the poor, brainwashed American Negro has been made to believe that Christ was white, to maneuver him into worshiping the white man. After becoming a Muslim in prison, I read almost everything I could put my hands on in the prison library. I began to think back on everything I had read and especially with the histories, I realized that nearly all of them read by the general public have been made into white histories. I found out that the history-whitening process either had left out great things that black men had done, or some of the great black men had gotten whitened. — Malcolm X

It makes us a thread in a tapestry that has unrolled for centuries before us, and will unroll for centuries after us. We're midway through the loom, that's the present, and what we do casts the thread in a particular direction, and the picture of the tapestry changes accordingly. When we begin to to try to make a picture pleasing to us and to those who come after, then perhaps you can say that we have seized history. — Kim Stanley Robinson

He strolled past Sin and brought his duffel bag with him into the bathroom. A few minutes passed before he reemerged in a dark green t-shirt with a picture of a pinwheel on it and white letters beneath that said simply, 'Blow me.' A pair of worn denim shorts hung low on his hips. Wide black leather bands hid his wrists and a pair of sunglasses on top of his head held his hair away from his now dark blue eyes in a messy tangle.
Sin was no longer making any attempts to mess with the door. His eyes followed Boyd the entire time after he appeared from the bathroom and he was doing a very poor job of concealing that fact. — Ais

A song is like a picture of a bird in flight; the bird was moving before the picture was taken, and no doubt continued after. — Pete Seeger

My family's tradition of 'matching-matching' names is so obsessive, it's against the order of nature. When my uncles Anil and Anant married, they took advantage of a heinous custom in Marathi weddings. After the pheras, a dish of uncooked rice is placed before the newlyweds, and whatever name the husband chooses to write in the rice becomes the new name of his wife.
Because marriage in our culture is akin to buying a puppy at a pet shop and saying, 'I am your new owner, and I shall call you Flu y.'
So Anil Adarkar brought home Asha Adarkar (nee Kiran), and Anant Adarkar brought home Anita Adarkar (nee Geeta). And to complete this picture of divine perfection they named their children Aniket, and Ashwini and Ashleysha, respectively. — Nikita Deshpande

After we've been dancing awhile and need a breather, we walk off the dance floor. I whip out my cell and say, "Pose for me."
The first picture I take is of him trying to pose like a cool bad boy. It makes me laugh. I take another one before he can strike a pose this time.
"Let's take one of the both of us," he says, pulling me close. I press my cheek against his while he takes my cell and puts it as far away as he can reach, then freezes this perfect moment with a click. After the picture is taken, he pulls me into his arms and kisses me. — Simone Elkeles

Remember my mother - how much she suffered before she died, how thin and gray she seemed after so much surgery? I don't picture her that way anymore. I picture her as she was before she got sick. — Barbara Delinsky

Already we know almost literally nothing about the Revolution and the
years before the Revolution. Every record has been destroyed or falsified, every book has been rewritten, every picture has been repainted, every statue and street and building has been
renamed, every date has been altered. And that process is continuing day by day and minute by minute. History has stopped. Nothing exists except an endless present in which the Party is always right. I know, of course, that the past is falsified, but it would never be possible for me to prove it,
even when I did the falsification myself. After the thing is done, no evidence ever remains. The only
evidence is inside my own mind, and I don't know with any certainty that any other human being shares my memories. — George Orwell

I was leafing through a magazine where there was a before-and-after picture of a woman who went from a size 5 to a size 3 by liposuction. Was she serious? I've cooked bigger turkeys than her "before" picture. — Erma Bombeck

The kiss is the greatest of gifts, a miracle, uniquely human. A kiss beneath the mistletoe. A kiss after midnight. A kiss before dying. The devil's kiss. As a picture tells a thousand words, so a kiss says everything that's important. I am told prostitutes never kiss their clients. It is too personal, too human. We kiss to say I love you. We kiss the rings of the self-important. The feet of conquerors. The rich dark earth when we reach the promised land. We kiss our hands and wave as loved ones begin a journey. We kiss strangers before dawn in the first hours of a New Year because our wintry lips are incomplete until they are oiled by a kiss. — Chloe Thurlow

You see what you understand, You have to be prepared to see the world. The moment of clicking the camera is almost irrelevant. What is really important is what happens before and after you take the picture. — Gabriel Orozco

A picture is something that makes invisible its before and after. — Jeff Wall

Click. Everyone briefly gathered and posed and smiling at their future selves. Beaches and cathedrals, bumper cars and birthday parties, glasses raised around a dining table. Each picture a little pause between events. No tantrums, no illness, no bad news, all the big stuff happening before and after and in between. The true magic happening only when the lesser magic fails, the ghost daughter who moved during the exposure, her face unreadable but more alive than all her frozen family. Double exposures, as if a little strip of time had been folded back on itself. Scratches and sun flares. Photos torn postdivorce, faces scratched out or Biroed over. The camera telling the truth only when something slips through its silver fingers. — Mark Haddon

We have to emphasize to the gay community that opposition to same-sex marriages is not about hate, but about debate. Opposition to what some of us see as a devastating move that will further weaken the family and harm children
such opposition is not hateful. Morality is not bigotry.
In their book The Homosexual Agenda, authors Alan Sears and Craig Osten give this illustration, which I've summarized: Imagine that you are standing at the bottom of a cliff and you are watching as someone on the ledge above you is walking backwards, and in a few steps he will surely fall over the precipice. You shout, warning him to stop, and before you know it, a crowd gathers around you, snapping your picture and accusing you of "hate speech." You are being warned to keep your prejudices to yourself. After all, who are you to tell someone where they can and can't walk? Who are you to say that someone can't walk backwards? You are dumbfounded, but there you are, the object of everyone's wrath. — Erwin W. Lutzer

When Annunziata said she loved me or any of her thousands of other friends and beloveds, she was really saying, at least in my mind, "God loves you." To quote the singer/songwriter James Taylor, she showered the people she loved with love, always showing the way that she felt without holding back. Even as her body could barely contain her soul any longer, she'd open wide the gates of herself with a smile, that giggle, her twinkling eyes, and she'd let the supernatural love flow through her. Walking out of the chapel after her funeral, a woman I'd never seen before stopped me and said, "You're Cathleen, aren't you?" "Yes," I croaked, tears rolling off my nose as I fingered the prayer card with Annunziata's picture on it. Slipping an arm around my shoulders, the woman explained that she was one of Annunziata's former students and said, "She loved you so much." I know. — Cathleen Falsani

One goes into the forest to pick food and already the thought of one fruit rather than another has grown up in one's mind. Then, it may be, one finds a different fruit and not the fruit one thought of. One joy was expected and another is given. But this I had never noticed before that at the very moment of the finding there is in the mind a kind of thrusting back, or a setting aside. The picture of the fruit you have not found is still, for a moment, before you. And if you wished - if it were possible to wish - you could keep it there. You could send your soul after the good you had expected, instead of turning it to the good you had got. You could refuse the real good; you could make the real fruit taste insipid by thinking of the other." Ransom — C.S. Lewis

The last thing DeMille added to his $13 million film before he delivered the final negative to Paramount was his introduction that ran before the opening credits, filmed with him standing behind a microphone in front of a blue-and-white curtain (the colors of the Israeli flag). His intention was to emphasize the "importance" of what the audience was about to see and how authentic the film really was, and to make the spiritual connection to the Holocaust. DeMille says, in part: "The theme of this picture is whether man ought to be ruled by God's law, or whether they are to be ruled by the whims of a dictator like Rameses. Are men the property of the state or are they free souls under God? This same battle continues throughout the world today. Our intention was not to create a story, but to be worthy of the divinely inspired story, created three thousand years ago . . ." The introduction was almost always cut after the film's initial run. That — Marc Eliot

This must have been the side that Sam slept on when he snuck in here, because I recognized his scent. How ballsy he had been to come here night after night, just to be with Grace. I imagined him lying right here, Grace next to him. I had seen them kiss before - the way that Sam's hands pressed on Grace's back when he thought no one would see and the way that the hardness of Grace's face disappeared entirely when he did. It was easy to picture them lying together here, kissing, tangled. Sharing breath, lips pressed urgently against necks and shoulders and fingertips. I felt hungry suddenly, for something that I didn't have and couldn't name. It made me think of Cole's hand on my collarbone and how his breath had been so hot in my mouth, and suddenly I was sure that I was going to call him or find him tomorrow if such a thing was possible. — Maggie Stiefvater

Peasants and princes, bailiffs and bakers' boys, merchants and mermaids, the figures were all immediately familiar. I had read these stories a hundred, a thousand, times before. They were stories everyone knew. But gradually, as I read, their familiarity fell away from them. They became strange. They became new. These characters were not the colored manikins I remembered from my childhood picture books, mechanically acting out the story one more time. They were people ... The stories were shot through with an unfamiliar mood. Everyone achieved their heart's desire ... but only when it was too late did they realize the price they must pay for escaping their destiny. Every Happy Ever After was tainted. — Diane Setterfield

Laurel paused. Then she took David's hand and wrapped it around Chelsea's. After a long moment he nodded and led Chelsea through the gateway and out of Avalon. Laurel took one look before following. She saw Marion, her face a picture of shock; Jamison, his fist raised in triumph, a roar of cheers and applause surrounding him; Yasmine, still standing on the bench, looking every bit like the queen Laurel had no doubt she would one day be.
Grinning, she twined her fingers through Tamani's and together they walked out into the glittering starlight of California. Laurel considered the words Tamani had just spoken. They were technically true; soon they would be in David's car, headed to the house where she lived. But she knew the truth now. With Tamani beside her
his hand in hers
she was already home.
Aprilynne Pike
Destined pg. 300-301 — Aprilynne Pike

The Fae book was definitely filled with the same stories as hers, but this one was filled with picture after picture of Jared. She couldn't help but flip backward a few pages and see magical images come to life: of Jared defending her in an alley. Sitting in art class with Mina, spinning on the pottery wheel. There was another one of Jared by the lake, teaching her to fight. Jared and her in the storage room, laughing, before their tickling fight. She flipped forward and saw the last page filled with a motion-captured image of Jared and her sharing a kiss. — Chanda Hahn

Likewise, Oscar Wilde asked an English journalist to look over 'The Picture of Dorian Gray' before publication: "Will you also look after my 'wills' and 'shalls' in proof. I am Celtic in my use of these words, not English." Wilde's novel upset virtually every code of late Victorian respectability, but he had to get his modal auxiliaries just right. — Andrew Elfenbein

Again and again I've taken quick glances and then for some reason I've got to sit before a picture waiting and it's opened up like one of those Japanese flowers that you put into water and something I thought wasn't worth more than a casual, respectful glance begins to open up depth after depth of meaning. — Wendy Beckett

That picture changed everything. I was not the same after I saw it and I couldn't go back to the man I'd been before seeing it either. Not after we met that night on the street. My whole world altered because of a photograph. A photograph of my beautiful American girl. — Raine Miller

In essence, then, the common picture of economic thought after Smith needs to be reversed. In the conventional view, Adam Smith, the towering founder, by his theoretical genius and by the sheer weight of his knowledge of institutional facts, single-handedly created the discipline of political economy as well as the public policy of the free market, and did so out of a jumble of mercantilist fallacies and earlier absurd scholastic notions of a 'just price'. The real story is almost the opposite. Before Smith, centuries of scholastic analysis had developed an excellent value theory and monetary theory, along with corresponding free market and hard-money conclusions. Originally embedded among the scholastics in a systematic framework of property rights and contract law based on natural law theory, economic theory — Anonymous

It was from him, and from this picture in particular, that Henri Cartier-Bresson had developed the ideal of the decisive moment. Photography seemed to me, as I stood there in the white gallery with its rows of pictures and its press of murmuring spectators, an uncanny art like no other. One moment, in all of history, was captured, but the moments before and after it disappeared into the onrush of time; only that selected moment itself was privileged, saved, for no other reason than its having been picked out by the camera's eye. — Teju Cole

I'd once been fascinated by his legend - all the stories I'd heard before I met him. Now I can feel that same sense of fascination returning. I picture his face, so beautiful even after pain and torture and grief, his blue eyes bright and sincere. I'm ashamed to admit that I enjoyed my brief time with him in his prison cell. His voice can make me forget about all the details running through my mind, bringing with it emotions of desire, or fear instead, sometimes even anger, but always triggering something. Something that wasn't there before. — Marie Lu

Death didn't happen like I expected it to. There was no Grim Reaper, no chorus of angels, no army of demons. And my life didn't flash before my eyes. Death was the color of softness, a delicate green under a thin film of baby powder. There was nothing but soft random thoughts and picture, drifting through me like a child's breath blowing through a dandelion after making a wish. And as I died, I was held by my love. I wanted to soak up her love and smuggle it with me to wherever my soul was headed.
-character Ron (Broken) — J. Matthew Nespoli