Leonard Nimoy Quotes from joe-ks.com
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The needs of the many outweigh the needs of the few.
Star Trek II: The Wrath of Khan, 1982

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.
Star Trek, 2009

When you eliminate the impossible, whatever remains, however improbable, must be the truth.
Star Trek VI: The Undiscovered Country, 1991

Without followers, evil cannot spread.
Star Trek, season 3, episode 5, ("And the Children Shall Lead," 1968)

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.
Star Trek, season 2, episode 1 ("Amok Time," 1968)

In critical moments, men sometimes see exactly what they wish to see.
Star Trek, season 3, episode 9 ("The Tholian Web," 1968)

May I say that I have not thoroughly enjoyed serving with humans? I find their illogic and foolish emotions a constant irritant.
Star Trek, season 3, episode 7 ("Day of the Dove," 1968)

The means of many outweigh the means of the few or one.

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.

Whatever I have given, I have gained.

I believe in goodness, mercy and charity. I believe in casting bread up the waters.

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.

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.

I certainly don't live in a kosher home although I was raised in a kosher environment.

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.

This time, there have been a lot of interesting discussions about the subject matter, and I've had a good time talking about it. And in some of the cases, I'm not just signing books - I'm showing slides and talking about the work.

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.

For me it's all about personal vision - is there something about a subject that uniquely speaks to me.

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.

I also do my own processing, so it means a big commitment in lab time.

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.

I use a computer. I don't know if that qualifies me as a techie, but I'm pretty good on the computer.

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.

I became involved in photography when I was about thirteen years old.

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.

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.

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.

The book tour has been really interesting and very gratifying. I have not book toured before. I've never had quite as much pleasure, as much satisfaction.

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.

I am not Spock. But given the choice, if I had to be someone else, I would be Spock. If someone said, "You can have the choice of being any other TV character ever played," I would choose Spock. I like him. I admire him. I respect him.

That's true, because I'm a photographer now.

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.

Which is probably the reason why I work exclusively in black and white... to highlight that contrast.

My wife and I are affiliated with a temple here in Los Angeles. We feel very close to the congregation and to the rabbi, who happens to be my wife's cousin and who I admire greatly. I talk to him regularly but I consider myself more spiritual than religious.

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.

I became hooked on the idea of being able to shoot an image and process it myself, and end up with a product.

For a long time I have been of the opinion that artists don't necessarily know what they're doing. You don't necessarily know what kind of universal concept you're tapping into.

I'm attracted to images that come from a personal exploration of a subject matter. When they have a personal stamp to them, then I think it becomes identifiable.

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.

For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job.

Some words having to do with the death of the people in the World Trade Center attack had been added, and when I got to it, I had this overwhelmingly emotional experience. I struggled to get through the words; tears were streaming down my cheeks.

You proceed from a false assumption: I have no ego to bruise.

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.

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.

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.

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.

My folks came to the U.S. as immigrants, aliens, and became citizens. I was born in Boston, a citizen, went to Hollywood and became an alien.

That is the exploration that awaits you! Not mapping stars and studying nebula, but charting the unknown possibilities of existence.

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.

Logic is the beginning of wisdom, not the end.

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