My work is about the establishment of trust. For someone to share their authenticity with me is a soul-to-soul thing. It's not a lens-to-soul thing.
God makes it clear that his image bearers must live in dynamic communion with one another, thereby discovering and celebrating the good gift of one's own gender and that of the other. With a cross-shaped lens, we behold the beauty of man for woman and woman for man. None of us has ever lost that original design. No matter how broken we have become, we have never lost the potential to be good gifts for others!
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.
If at times my eyes are lenses through which the brain explores constellations of feeling my ears yielding like swinging doors admit princes to the corridors into the mind, do not envy me. I have a beast on my back.
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.
Just put on the lens and go.
I think a lot about Big Mind-Small Mind, expansive, wide-lens consciousness and contracted, introverted consciousness. I have moments-we all do-when just being alive is a pleasure and a miracle. They feel like moments when the shutters of the mind are open so I can look out. It also feels as if those same shutters have no hooks to fix them in an open position. One small wind and bang-they slam shut.
Faith, for me, isn't an argument, a catechism, a philosophical “proof.” It is instead a lens, a way of experiencing life, and a willingness to act.
A screenplay is really an instruction manual, and it can be interpreted in any number of ways. The casting, the choice of location, the costumes and make-up, the actors' reading of a line or emphasis of a word, the choice of lens and the pace of the cutting - these are all part of the translation.
You'd come in in the morning and put your contact lenses in and they'd put your makeup on. I tried to stay out of the sun, because the more color you had, the more makeup you had to wear, to cover your color.
Composition is what's similar between being photographer and director. As a photographer, you're sort of doing everything - you're directing the lights and you're framing and you're moving around. The hardest thing to learn as a director is how cameras have to move. You have to have patience, you have to learn how to look through the lens and then you have to learn to combine all of the compartments into one great image.
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 can put this another way by saying that while in other sciences the instruments you use are things external to yourself (things like microscopes and telescopes), the instrument through which you see God is your whole self. And if a man's self is not kept clean and bright, his glimpse of God will be blurred - like the Moon seen through a dirty telescope. That is why horrible nations have horrible religions: they have been looking at God through a dirty lens.
Human beings do not perceive things whole; we are not gods but wounded creatures, cracked lenses, capably only of fractured perceptions. Partial beings, in all the senses of that phrase.
I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
I shoot with a few different camera's. A Sony A6000 with several lenses and a Lumix LX100 with a beautiful Leica lens. I like to travel light so I can have it with me most of the time. I really try and document all the places we travel to.
Through the lens of spirituality, we see all the commandments of God as invitations to blessings.
There is no romance without some lying. That's what romance is - a little bit of Vaseline on the camera lens of life.
I'm such a jerk; it had never occurred to me that when we look at a photo from the front, the eyes reproduce exactly the position and the vision of the lens; it's these things that are taken for granted and it never occurs to anyone to think about them.
The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.
We were in the middle of a sandbar in the middle of the ocean with no one around, and still someone was following me from New York, and was hiding in some bushes like a mile away with a long lens, so he still got pictures. It was really an eye opener to how you really have to be careful about being followed everywhere. I was trying to go to the most remote place in the world, I was out on a sandbar in the middle of the ocean, and they still found me. It was definitely a very new experience.
When I am able to be present, listening - really listening - to a viewpoint described through someone else's lens, I am here in the now and alive.
There's just something about getting up, putting it out there, and getting this exchange of energy. Whether your audience is a camera lens, or live theater, or whatever it is, just putting that out there and getting it back is just an honor.
I really love it, I love working with directors that are very collaborative and allow me input. I've done over 75 films, it's just like you're an apprentice. You learn so much about camerawork, lenses, and I'm always talking about DPs and directors and they always give me lists. I think pretty soon, I'll be ready to move away from being in front of the camera.
The good news is we are seeing an incredible surge in non-animal technologies in laboratories. With researchers using stem cells, visually impaired people may one day have new corneas and lenses grown from their own cells. That is likely to be a more effective and cheaper approach than using animals.
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