A Quote by Bill Jay
Photography is inextricably linked with life; the photographer is not invisibly behind the camera but projecting a life-attitude through the lens to create an interference pattern with the image. Who he is, what he believes, not only becomes important to know intellectually, but also becomes revealed emotionally and visibly through a body of work.
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I discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.
! discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.
The autobiographer looks at life through the lens of his or her own life and really uses herself or himself as the jumping-off place to examine the social mores and the economic and political climates. In a way, the autobiography becomes history as well as the story of one person, for it becomes the story of a family or the story of the state or nation.
Any addict in recovery would say that life never becomes perfect. Your life is better, but that doesn't mean it's easier. Life, at least for a certain period of time, becomes harder and you have to work through that to get to the light at the end of the tunnel.
Anybody who becomes a movie star becomes successful at projecting a certain image to the public.
With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.
The television screen is the lens through which most children learn about violence. Through the magnifying power of this lens, their everyday life becomes suffused by images of shootings, family violence, gang warfare, kidnappings, and everything else that contributes to violence in our society. It shapes their experiences long before they have had the opportunity to consent to such shaping or developed the ability to cope adequately with this knowledge.
The purpose of photography is the transmission of a visualized sector of life through the medium of the camera into a mental process that starts with the photographer's thinking about the subject he photographs and is continued in the mind of the spectator.
Photography through the camera is an instrument of detection. We photograph not only what we know, but also what we don't know.
Karma is not something pessimistic. If you think of karma as something wrong, you are seeing karma only according to what happened in the past. You look at the past and karma becomes a monster. So you should also look at karma in the present and future. Then karma becomes something very wide and really alive. Through karma you can understand what your destiny is. Destiny itself has no solid form; it's something you can create. You can create your life. That is why we study karma.
I also believe that writing becomes worthwhile and vitalized only through a full and exciting life.
It seldom happens that a man changes his life through his habitual reasoning. No matter how fully he may sense the new plans and aims revealed to him by reason, he continues to plod along in old paths until his life becomes frustrating and unbearable-he finally makes the change only when his usual life can no longer be tolerated.
People have asked me, 'Is it about Apple or is it about Jobs?' and I say it's about how a man becomes his company and the company becomes the man. That has only happened a few times, like it happened with Ford, I think, they became inextricably linked together.
What I resist is techniques. I find techniques very problematic. So when critics talk about my work in those terms, I find that they miss the condition. I am comfortable with the notion of pattern and ornament as a system of organization, [but] for me it acts as a textile. So it's not about pattern, but the notion of architecture through the lens of textile, rather than architecture through the lens of brick and mortar.
You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.
The heart becomes sick, as the body becomes sick, and its remedy is al-Tawbah (repentance) and protection [from transgression]. It becomes rusty as a mirror becomes rusty, and its clarity is obtained by remembrance. It becomes naked as the body becomes naked, and its beautification is al-Taqwa. It becomes hungry and thirsty as the body becomes hungry, and its food and drink are knowledge, love, dependence, repentance and servitude.
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