Quotes About Camera

The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.

I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.

While working with a camera crew supervising flight testing of advanced aircraft at Edward's Air Force Base, California, the camera crew filmed the landing of a strange disc object that flew in over their heads and landed on a dry lake nearby. A camera crewman approached the saucer, it rose up above the area and flew off at a speed faster than any known aircraft.

The majority of my background is multi-camera format, which is very broad and a very arch perception of reality. Whereas single camera tends to be more truthful and a little more intimate of a medium. Friends was an education in intelligent comedic banter; in intelligent vernacular. It was an education in scene study. It was an education in group dynamic. I came out of there with a masters degree in comedy.

To be honest, everyone thinks that a digital camera is more reliable and every single time I work on any movie, it's just as many problems, the memory card doesn't work or blah blah blah, it overheats; it's the same volume as another camera. I think people are bit taken in by it.

The feeling I have reminds me of New Year’s Eve, when the countdown is coming and I’m not quite sure whether to grab my camera or just live in the moment. Usually I grab the camera and later regret it when the picture doesn’t turn out. Then I feel enormously let down and think to myself that the night would have been more fun if it didn’t mean quite so much, if I weren’t forced to analyze where I’ve been and where I’m going.

Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.

That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.

I don't take the camera out with me. My eyes are the camera for me every day.

Basically, if you shoot your own stuff, you can just pick up a camera and some wireless microphones, grab a couple of LEDs, and you're off and running. And if you don't shoot your own stuff, you can just grab one other person to do camera and you can learn how to do the sound, and you're off and running.

I found it liberating to sing on camera. On stage, you have to indicate having a thought, and the word you are singing must indicate it as well, but on camera, you can have ideas, you can take in all the stimuli that the character would be taking in, there's a freedom you get, and you don't have the obligation to transmit each idea to the back of the house. It felt so much closer to reality for me.

Do not be afraid of mistakes. They will be with you always,every time you put a camera to your eye. [If you] shoot safe, and don't at least occasionally court disaster, you are not trying. Time to hang up the camera.

It doesn't matter if they're in front of the camera or behind the camera. I know women who are producers who are surviving on nothing but juice and almonds.

When I first started, I would go to Weist-Barron, and I studied with Rita Litton and ACTeen. For teenagers, it's a really, really great school. We did a lot of on-camera stuff, so you see yourself and what you do on camera.

Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are.

My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture.

The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.

I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.

When I was nine, I asked my Dad, ‘Can I have your movie camera? That old, wind-up 8-millimeter movie camera that’s in your drawer?’ And he goes, ‘Sure, take it.’ And I took it, and I started making movies with it, and I started being as creative as I could, and never once in my life did my parents ever say, ’ What you’re doing is a waste of time.’ Never….. I know there are kids out there that don’t have that support system. So, if you’re out there and you’re listening, listen to me: If you wanna be creative, get out there and do it. It’s not a waste of time.

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.

I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.

Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create

Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.

Ever since the invention of the camera, people have been trying to create 3D, because we see things in 3D, and everyone's aware that the camera doesn't.

This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.

I've often said, not totally jokingly, that screenwriting doesn't really qualify as real writing at all. You don't string sentences into paragraphs. You don't maintain a constant breath, or create internal rhythms, or even develop a fully-formed thought. The camera does all that work for you!

David I knock you out! - While pointing to the camera with a smirk.

As a director, you want to be really connected to every part of your set, from your actors all the way to your camera operators. Everybody is a part of the creative process, and if they feel like they're part of a team versus just being a tool, they're going to give you something special.

Working in front of the camera keeps me alive.

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

When someone's acting for a scene, they can fool the camera. But in everyday life, unless you're watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.

I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.

I know the pleasure you get from making your films. The intense involvement in every aspect: the acting, the camera, the colors, the costumes, even the hair and makeup. Editing is thrilling. Everything to do with films is absorbing - everything but the money part, the business. But I'm deeply glad I've had that experience.

In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.

When you're in front of the camera, for a small budget or a big budget movie, there's no difference.

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

There is a part of me that still wants to go out and grab a backpack and unplug - not take a cellphone or even a camera and just get out there and experience the world and travel. I have yet to do that, but someday I hope.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated.

I understand the opposite side of the camera. I have a profound respect for that. I have worked with people who, when you hit that mark, are doing 50 percent of your work for you. So, you know, it's a balance. When you walk into a mark and you're lit a certain way or something's happening so often you don't know what's behind you... And that's what's so strange about being a movie actor.

I just want to kind of tackle every kind of form that exists in the comedy world; whether it be stand-up or hidden camera or parody. Kind of slap it in a movie with hip-hop artists and actors, comedians and girls. I just want to do something fun.

I think you should do rehearsal and work at it, but when the camera rolls, you should be ready. Try to make it good the first time.

In "Virginia Woolf" I had a thing which the grips called the paraplegic which was a wheelchair thing that I had made up years before where I could stand on this bicycle-like device and be pushed down the hall, and then step off it with a handheld camera.

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.

In my childhood I was obsessed with cameras but could not afford one. After much persuasion my father Harivansh Rai Bachchan bought me a box camera which I treasured for years. Initially I clicked trees and nature and as I grew up started noticing prettier things-motorbike, sleek cars and cool girls. But the hamartia of life is when you desire something you cannot afford it and when you are able to afford it you are too old to use it. Now I don't need all gadgets but it's satisfying to know that at least I can afford them.

The most important piece of equipment after the camera is a good pair of shoes.