Quotes About Camera

I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.

The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.

Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.

I think I did a couple of test commercials that didn't even make it on the air. That's how little I had really done. I knew almost nothing about the camera. In fact, I actually did know nothing about the camera.

All I kept thinking about was, "Man, he's so relaxed onstage! I'm never going to be that relaxed! I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera."

It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.

You should never use the camera to make your pictures. You use yourself, your experience to make the picture with the camera. Not the other way around.

Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture.

A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.

Designing the technical aspects of my camera movement for me is very important. I want the camera to be a big part in telling the story as well, like what I really believe in with all the films I make.

Onstage, I enjoy the thrill of live performance - there is no substitute for that rush. On camera I enjoy the crafting of a scene, the widespread creative marksmanship happening all around you for every second of footage. Onstage you can suddenly feel solitary, like it's all on your shoulders, while on camera you feel like there are so many people working with you on every shot. Those are each unique and gratifying challenges.

I bought my first camera to photograph my brother's children. I learned a lot from that experience. The value of innocence and of not being focused on yourself, and I have to say that these things have remained with me to this day. I can immediately feel when someone is putting on a camera face.

[The small camera] taught me energy and decisiveness and immediacy ... The large camera taught me reverence, patience, and meditation.

We have African-Americans and black people getting behind the scenes more and more, we get true black images in television and film...because we have black people behind them. They can tell stories from those points of view and bring to life those characters who have yet to be shown. As long as we have people behind the camera just as much as in front of the camera doing the work, then we'll always be good.

There's a certain way people are used to seeing nude women, and that's in a submissive, coy pose, not looking at the camera. And in this poster, I'm looking dead into the camera with no expression on my face. I think it freaks a lot of people out.

It took two years of me telling Canon engineers that a camera is a thing between the human hand and the human eye, so it had to have ergonomics on both sides! They got the message, and we did it, and overnight it was the camera of the world. Everyone - Nikon, Yashica, Sony - all copied Colani.

With the RED, I didn't have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera. I didn't relate to it as much. I remember avoiding it during the shooting rather than paying attention to it.

At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.

I was open to anything. That doesn't mean I would do anything, it just means I was open to anything. I've met for dramas, single camera comedy, multi-camera comedy. I take each script as an individual project.

Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.

There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.

On the brilliance of James Brown's dancing − and the frustrations of bad camera-work on dancers:cers: I think James Brown is a genius you know when he's with the Famous Flames, unbelievable. I used to watch him on television and I used to get angry at the camera-man because whenever he would really start to dance they would be on a close-up so I couldn't see his feet. I'd shout "Show him! Show him!", so I could watch and learn.

When I was younger, I did things with a camera I would not do by myself. I remember going down to the docks in San Francisco and asking a fisherman if he would take me out on his boat. I would never do that without a camera.

I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.

I have produced all my music videos. Love to get behind the camera and get involved in the editing process.

In animation, there's silly things I get to do with my voice. I get to have a wider range, so my voice gets to dance more than it does on camera.

Photos should focus on your waist up, unless you have amazing legs. Then it's okay to include one or two full-body shots in your gallery. The majority of your photos should be closer up, highlighting your face. Don't stage a smile. Instead, try to laugh just before the shot is taken. Flirty smiles that don't look cheesy also work. Make eye contact with the camera. Aim to take most of your photos outdoors.

Memory is a tenuous thing, like a rainbow's end or a camera with a failing lens.

Kevin Costner has feathers in his hair and feathers in his head. The Indians should have called him 'Plays with Camera.

The camera can move, you can make the shots, blah blah blah, but as long as the actors are good, you have something.

No matter how advanced your camera you still need to be responsible for getting it to the right place at the right time and pointing it in the right direction to get the photo you want.

With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.

The camera is a fluid way of encountering that other reality

There is no one who can stop you; you find a mic, a crowd, a set of ears, and nowadays, a camera and YouTube, and you recite your poem. You have your say. I don't want to over-romanticize it: of course, any time an art form ascends, especially when competition is involved, there will be gatekeeping, chauvinism, and other unfortunate dynamics. But the beauty of spoken word and performance poetry is, by and large, its ability to reach people in the moment - right there, right then.

The camera is not merely a reflecting pool and the photographs are not exactly the mirror, mirror on the wall that speaks with a twisted tongue.

I don't trust any camera you can't make out of wood.

I think I was very shy and introverted when I was younger, and yet, when I got in front of the camera or went out on the town, I was able to go out half-naked and do anything.

A good writer writes with a camera, not a pen.

We changed our rules. If a player does not have some sot of altercation on or off the court once each month, we fine him...The guys that are our top four scorers, each of them will be required once every two months to appear on MTV. The guys who shoot the worst free throws over a one-month period, next time we have a TV game they're required to look into the camera and beat their chests after they make a good play.

You should always be taking pictures, if not with a camera then with your mind. Memories you capture on purpose are always more vivid than the ones you pick up by accident.

The thing about being a photographer that's so cool is that you get to participate, but you also get to disappear. The camera is in front of your face all the time.

Well, I think the camera freedom is something that we've resisted for a long time and feels like probably the biggest stretch. But it has some huge benefits.

As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.

I grew up in New York, so I fell in love with acting on a stage, not in front of a camera.

My heroes are the camera crew and the electricians. They work such long hours.

Some cameras are heavier and need to be on tripods. Others are small enough to hide in your pocket. There are places where you don't want to feel like you are disturbing anything, so I may use a camera like that.

I just [take pictures] because the camera is something to carry around in my pocket.