If the camera is the principal tool of fi lmmaking, do directors give up artistic control when they have cinematographers operate the machines? Does your experi ment ing in the questions above suggest...

If the camera is the principal tool of fi lmmaking, do directors give up artistic control when they have cinematographers operate the machines? Does your experi ment ing in the questions above suggest there may be a camera “language” that di rec tors should be controlling themselves? Given your experience with fi lm and cam eras, how might camera language be described?