A Quote by Sydney Greenstreet
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.
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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.
You can tell a good ruined lens, right from the get-go.... That’s the kind of lens I'm looking for.
It is good to be in front of the lens to appreciate more being behind the lens.
I think the 50mm lens is an extremely good discipline lens; it requires you to see in a more refined way, not just tighter.
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.
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 critic is genius at one remove; he is not unlike an actor on the stage, and incarnates in his mind, as the actor embodies in his person, another's work; only thus does he understand art, realize it, know it; and having arrived at this, his task is done.
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.
We are the strongest filter we can place before the lens. We point the lens both outward and inward.
Computer chips will cost about a penny. That's the cost of scrap paper. The Internet will be basically for free and it will be inside our contact lens. When we blink, we will go online. When we see somebody that we don't recognize, our contact lens will identify who they are, print out their biography in your contact lens and translate, if they're speaking Chinese, into English with subtitles as they speak.
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.
The more money you get, the bigger target you become. That's true. It's sad but it's true that you have to be aware of every person that comes to you with the next greatest deal. You just have to look at every single person with a fine lens. That's the way my life is going to be from here on out.
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.
You and I can profit by asking ourselves: What do I see when I look through the lens of my attitude toward myself? Am I more a critic than a friend? Do I look beyond the surface blemishes to find the truly beautiful and unique person that I am? Or do I play the destructive "comparison game"? What verdict does the juror of my mind pass on me: "good at heart" or "guilty on all counts"?
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.
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