A Quote by Priyamvada Natarajan

The precise effects of lensing depend on the mass of the lens, the structure of space-time, and the relative distance between us, the lens, and the distant object behind it. It's like a magnifying glass, where the image you get depends on the shape of the lens and how far you hold it from the object you're looking at.
If you know the shape of the lens and the image you get, you can work out the path that light followed between the object and your eye.
You can tell a good ruined lens, right from the get-go.... That’s the kind of lens I'm looking for.
The lens freezes time and space in what may be an optical slavery or, contrarily, the crystallization of meaning. The limits of the lens' vision are esthetically often a virtue.
It is good to be in front of the lens to appreciate more being behind the lens.
With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.
Hyperrealism is more about objectifying... how an object can be portrayed when it is seen through a camera's lens... all my paintings are about an object being viewed through human eyes.
My mission is to change the way people see the world. Everybody has a perspective or a lens they see things through, and hopefully I can adjust that lens or change that lens so that they see things from a different perspective, a different lens.
You are merely the lens in the beam. You can only receive, give, and possess the light as the lens does. If you seek yourself, you rob the lens of its transparency. You will know life and be acknowledged by it according to your degree of transparency - your capacity, that is, to vanish as an end and remain purely as a means.
Looking through the camera lens reduces noise; as humans we see a million shapes, colours and textures. What the lens does, what art does in general, is get rid of all the noise. It hones in and isolates the qualities of a scene.
The lens is the actor's best critic... showing his mind more clearly than on the stage. You can get wonderful cooperation out of the lens if you are true, but God help you if you are not.
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.
I don't know how to have a normal relationship because I try to act normal and love from a normal place and live a normal life, but there is sort of an abnormal magnifying glass, like telescope lens, on everything that happens.
We are the strongest filter we can place before the lens. We point the lens both outward and inward.
In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.
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.
I think the 50mm lens is an extremely good discipline lens; it requires you to see in a more refined way, not just tighter.
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