Quotes About Camera

The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."

Now everyone's main objective of taking photographs is to have a photograph for Twitter or Facebook. I find that troubling. If you have an opportunity to meet the Dalai Lama, don't work out your camera or iPhone issues. Sit and a listen to what the man is saying, because nine times out of 10, you're not going to look at that photo. You're not going to look at the video. As a photographer, I don't carry a camera. I have my iPhone, but I don't carry a camera. I want to live.

It would be great to do another television show that was a multi-camera because the hours are so wonderful and you can be a good mom at the same time. The problem is, there aren't a lot of multi-camera shows that I personally like. My aesthetic is more geared toward single-camera shows.

My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.

I hate cameras. I hate cameras and I hate camera phones. The camera's my worst enemy and my best friend. It's the way I convey my emotions to the world without saying a word, so I use it. People always say, 'You come alive as soon as the camera's on!'

I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.

I like having the digital camera on my smart phone, but I also like having a dedicated camera for when I want to take real pictures.

I don't like people who are hypocritical, who pretend to be nice, particularly in show business when they're nice on camera, and then off camera they're absolutely appalling to the makeup people, or the waitress in a restaurant, you know? I don't like - I can't bear those kind of people. So I like people who are, you know, up front in your face.

How I wished I'd have had a camera of my own, a mad mental camera that could register pictorial shots, of the photographic artist himself prowling about for his ultimate shot - an epic in itself. (On the road with Robert Frank, 1958)

Whenever there's a camera around, a video or film camera, it's a great deal harder for those in power to bury the story.

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.

I'm into capturing the moment. Sometimes, I'll rip the camera out of my assistant's hands and he'll be shouting, But there's no film in the camera! and I think, Never mind! Let's go.

If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.

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

I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.

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.

My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.

We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.

I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn and I would skip class to shoot my scenes. It was terrifying and I entirely self-conscious in front of the camera.

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!

I am very proud of my husband, both behind the camera and in front of the camera.

I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.

I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.

The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.

Both those taking snaps and documentary photographers... have not understood information. What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.

Just having the camera, being able to pull back from situations and be an observer, it saved my life... I realised I could find these intimate moments and that people trusted me. That, basically, my camera was magic.

I bought a camera with my first ever paycheck.

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.

One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.

I remember like that scene with Pharrell where they're at the music video shoot, we have this on camera actually, Pharrell's confused because we weren't doing the script. We were doing all this improv and then Diddy says to him... Pharrell's like I don't understand what's going on and Diddy goes, "We do a lot of improv". (laughter) I remember being we just made him into a comedy nerd. We somehow turned Sean Combs into a comedy nerd, so.

The sign at the entrance to my gym locker room says, no cell phones please, cell phones are cameras. They are not. A camera is a Nikon or a Leica or Rolleiflex, and when you strike someone with one, they know they have been hit with something substantial.

You have to be able to observe life as if you were a camera all the time, constantly looking at light and the way that things are placed and the way people hold themselves. You need the ability to see something in someone or something that no one else really sees and be able to bring that to light. Basically, you have to be an obsessive crazy person.

In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.

I had gotten rid of the crying when I got to high school, though it happened again when I was a junior. We lost in the state championship. It was kind of the same situation, camera in my face, and then that's when I realized it was over I had my moment.

The camera has an uncanny ability to capture the world as it is, to seize events as they happen, and also to conjure visions of the future. But by the time the image reaches the eyes of the viewer, it belongs to the past, taking on the status of something retrieved.

After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.

Off-camera, I sound like Perry Como.

It is inescapable that Ringo was the catalyst for the others. He certainly completed the jigsaw and The Beatles, with Ringo, became a magnet for the great camera artists of the world, a target for the jaded, lately hostile eyes of people who had hardly known that popular music existed.

I've learned survival secrets from being on camera, and then translated them into everyday life.

In Slumdog Millionaire when you are immersed in the point of view of children in the slum and the bustle of the city, the handheld camerawork is amazing. A handheld camera is perfect for establishing point-of-view and for instilling the feeling that you are there.

As Mike Bickle said to me, there is a spiritual battle going on in the world, and he believes that in America marriage between a man and a woman will become illegal. He believes there will be a war. He believes it'll begin in schools and the Christian kids will rise up and slay the non-Christian kids. This was an on-camera interview!

You have to really think about what kind of guy the character is and decide on a style that works, that complements my physicality and that's going to be believable, but also be compelling for the audience and for the camera.

There's something very scary about exposing yourself on camera, knowing that you're going to be put on thousands of screens around the world for everyone to judge, but there's also something very thrilling and exciting about it.

I spent a lot of years just learning my craft and falling down in front of the camera.

I had rescued the moment by using my camera and in that way had found how to stop time and hold it. No one could take that image away from me because I owned it.

I'm a very creative person, and you know when I hooked up with Benny Boom, I said I want it to be a different kind of video. I want it to be crisp, and I want it to relate, [and] not to be so far over people's heads. And that's when we came up with the p-t-d-d-d-d-d (camera flashes.) You know with the picture changing, and that's it.

I like to be flexible in the way I take pictures. I do not use a tripod, and I move around in the crowd, of which I am myself part.... I try to preserve the dynamics of the street, and my way of using the camera tries to approximate as much as possible the way we see: focusing on details, opening up to wider angles, and composing all these very short, fragmented impressions into a larger mental picture.