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“He overheard the director talking to one of the cameramen. The cameraman was explaining that he couldn’t get a good long shot on the exterior because someone had set up a fake graveyard right in the plaza.
“Kids just playing around, I guess, but it’s morbid; we’ll have to get rid of it, maybe bring in some sod to—��
“No,�� Albert said.
“We’re almost ready for you,�� the director assured him.
“That’s not a fake graveyard. Those aren’t fake graves. No one was playing around.��
“You’re saying those . . . those are actually . . .��
“What do you think happened here?�� Albert asked in a soft voice. “What do you think this was?�� Absurdly, embarrassingly, he had started to cry. “Those are kids buried there. Some of them were torn apart, you know. By coyotes. By . . . by bad people. Shot. Crushed. Like that. Some of those kids in the ground there couldn’t take it, the hunger and the fear . . . some of those kids out there had to be cut down from the ropes they used to hang themselves. Early on, when we still had any animals? I had a crew go out and hunt down cats. Cats and dogs and rats. Kill them. Other kids to skin them . . . cook them up.��
There were a dozen crew people in the McDonald’s. None spoke or moved.
Albert brushed away tears and sighed. “Yeah. So don’t mess with the graves. Okay? Other than that, we’re good to go.”
― Michael Grant, Light

“In short, in contrast to the magician - who is still hidden in the medical practitioner �� the surgeon at the decisive moment abstains from facing the patient man to man; rather, it is through the operation that he penetrates into him.
Magician and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art.”
― Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction: An Influential Essay of Cultural Criticism; the History and Theory of Art

“In short, in contrast to the magician - who is still hidden in the medical practitioner �� the surgeon at the decisive moment abstains from facing the patient man to man; rather, it is through the operation that he penetrates into him.
Magician and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art”
― Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction

“No camera can capture, what your eyes capture.”
― Amit Kalantri, Wealth of Words

“लेंस मेरे लि�� वह सुरक्षित दिवा�� है जो मुझे हत्याओ�� के इन सिलसिलों से दू�� रखती है”
― Chandan Pandey, कीर्तिगा��

“I wonder how Mr. Brinks would react if I told him my doctor was the surftastic cameraman he fist-bumped earlier in the week.”
― Eireann Corrigan, Remedy