A Quote by John Gruber
I've heard that it's some kind of weird two-lens system where the back camera uses two lenses and it somehow takes it up into DSLR quality imagery.
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I don't remember the first picture I took, but I actually found a picture of myself on a trip back to my old family home in Malaysia. I'm five years old, sitting on the floor with the family camera in my hand. It was a film camera - not a DSLR - with a fixed lens and a nice manual zoom.
The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.
This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa [Dorfman] and actually operate the camera. Well one of the cameras, because there were four cameras there.
It's hard to do a camera inside of a car. Non-Stop would have been impossible. Usually modern lenses you can focus up to the lens pretty much, but anamorphic you can't. You need like three feet.
People who face too many demands - two careers, two children - often scale back somehow. The Obamas scaled up.
For my first book, 'New York,' I had one camera and two lenses. It was fotografia povera.
I have some advantages of viewing from the two lenses, the two perspectives. I think that a lot of visual artists who come back here from the United States and are Cambodian also write from their American references - looking inside the old culture, and looking at themselves as an American looking into the country where they were born.
Leica are known for their still camera lenses and in the last year and a half have come out with a series of film lenses and they are brilliant. The best thing about them, apart from their quality, which is uniform, is that each one is the same size, pretty much the same weight... So in terms of fitting into the rig, everything is almost purpose built for that and the quality is beautiful, really beautiful.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
In America, we have a two-party system, and the American Constitution is a piece of brilliance, but they did not know when they set it up we would just have a two-party system. It just so happens that our electorate pushed towards the two-party system because it's a very good way to govern.
We are splintering what was the 'camera' and its functionality - lens, sensors, and processing - into distinct parts, but, instead of lenses and shutters, software and algorithms are becoming the driving force.
If I could have somehow been the kind of artist who could crank out two or three issues a year, that's different. That's sort of what it's all about, to get this thing out so that there's some kind of continuity. But to do a comic book every year or two was just so anti-climactic.
We have two boys, and one of our kids is much more interested in history and stories, so if you want him to do some calculations about lenses, you would start talking to him about Galileo... Then he would be into the lenses, but if you just start talking to him about lenses, he might not stay with you.
One fine day, in the middle of the night, two dead boys got up to fight. Back to back they faced each other. They pulled out their swords and shot one another. One deaf cop, on the beat heard the noise, and came and shot the two dead boys.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
They would go back and listen to my matches, and two days later, I'd be fined. Because no one heard it while it was being played, but they heard it on some mic behind the court. Is that the way it should be? I don't think so.
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