A Quote by Bertrand Russell

The camera is as subjective as we are. — © Bertrand Russell
The camera is as subjective as we are.
The camera is an extension of yourself... Your story treatment may be subjective, but it is important to remain objective as to truth.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.
There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it.
Change is always subjective. All through evolution you find that the conquest of nature comes by change in the subject. Apply this to religion and morality, and you will find that the conquest of evil comes by the change in the subjective alone. That is how the Advaitic system gets its whole force, on the subjective side of man.
The problem is one of opposition between subjective and objective points of view. There is a tendency to seek an objective account of everything before admitting its reality. But often what appears to a more subjective point of view cannot be accounted for in this way. So either the objective conception of the world is incomplete, or the subjective involves illusions that should be rejected.
What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.
You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.
I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.
Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective.
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