Quotes About Camera

The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.

I love to just listen and watch. I could happily watch a security camera at a store. Often during a day I'll see a guy selling pretzels or an argument that somebody's having on a stoop and I'll think, "Oh I wish I had my camera, I wish I could capture this moment." There's something about people being people and interacting that can be so beautiful when it's framed by a camera. That desire to capture people as they are, and the stubbornness to keep going when they don't necessarily want you to capture them being who they are, are key.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.

The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.

For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.

The camera can be a machine gun, a warm kiss, a sketchbook. Shooting a camera is like saying, Yes, yes, yes. There is no maybe. All the maybes should go in the trash.

When I got the camera on the shoulder, they give me a nickname. They call me 'the tripod' because I'm kind of short and kind of strong. So if I take the camera and I lock myself, you think that you're on a crane.

I feel like doing theatre helps my on-camera work and my on-camera work kind of helps my theatre work. So I love to be able to bounce through the mediums.

If you need to strap a camera to you or get in a small space, then it makes sense to use digital.I do think it is possible to use a digital camera artistically, but it can only be good if you are using film technique. Film has grain, and digital has pixels, and there is not that much of a difference, but digital does not replace the need to create a scene and light it properly and spend time considering the shot.

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

This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.

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.

The fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.

Most people assume because I'm an actor that's all I know about and care about, I'm actually a camera geek and a film geek. I grew up making short films the same time I was acting. For me, it's a motion picture, not a play. I'm just as interested in what the camera department is doing and world building through costume design and production design as I am in acting. I think all good directors do that whether they're an actor or not.

When I was 19, I picked up an old, tiny, automatic Yashica camera and I just started shooting. We didn't have iPhones back then, we didn't even have cell phones. I loved having a camera in my hand.

In case you haven't heard, my girlfriends and I have declared the summer of 2012 as the best summer ever. The best way to document said 'best summer ever' is with a good ol' disposable camera. Smile, click, move on! Nobody gets pic approval, and there's no time wasted gathering around the camera to analyze a moment that just happened.

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.

With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.

I enjoyed being at Jurassic Park, with Jeff Goldblum and Sir Richard Attenborough. It's funny, because Steven Spielberg would actually operate the camera sometimes. He'd consider the camera, and he'd be kind of looking at me. He actually shot a few of the things that I'm in, in that lab, with that long ash dangling off that cigarette. Hogging that fake cigarette. Because I had quit smoking, and he wanted to make sure I didn't go back, so he got me the worst-tasting fake cigarettes ever.

A lot of photographers think that if they buy a better camera they'll be able to take better photographs. A better camera won't do a thing for you if you don't have anything in your head or in your heart.

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

Alan Rickman was such a terrific actor, and that was such a terrific character that he played. And it was a joy to be with him. We used to laugh together because we ran out of reaction shots. They were always - when everything had been done and the children were finished, they would turn the camera around and we'd have to do various reaction shots of amazement or sadness and things. We used to say we'd got to about number 200-and-something and we'd run out of knowing what to do when the camera came around on us. But he was a joy.

There's always been a shortage of roles for three-dimensional women, no matter what age. If you look at the statistics on women in film, be they behind the camera or in front of the camera, and it's pretty nauseous-making. It always has been.

Some people say the camera loves me, the truth is, I love the camera.

Sometimes you meet someone, and they seem great, they seem exactly what you're thinking of for the role, and then you put a camera on them, and they freeze. And other people come to life with the camera on them. I haven't discovered any reliable predictor for that; I think you just have to try it and see what happens. And, you know, sometimes the people who freeze, if you find the right magic word to say to them, you can unlock them.

It is not a camera, or a reporter that makes something real and genuine; more often a camera or a reporter does the opposite.

I know every actor says this, but the people behind the camera are great. They always have answers.

I'm sure I cause just as much consternation for editors as any other actor, it definitely makes me feel more comfortable understanding how and why all the different camera setups exist.

Some people like doing crossword puzzles or Sudoku. I love auditioning. On camera, I hated auditioning. But voiceovers I like trying to figure it out, then getting in there and seeing how close you can get.

The learning curve on soaps is through the roof because it's a three-camera setup. There's a master and then there's two singles. And the great thing about soaps, and soap actors will tell you, is that when you get your line wrong, they don't re-shoot it. They just cut to the person listening.

Sometimes the presence of a camera is like opening a door.

I've always been intimidated by the technicalities of taking photos, especially with a film camera - not just a point and shoot.

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.

After I discovered my degree in photojournalism would only get me a job in a camera store, I taught myself lighting. I read tons of magazines and books and studied the photos trying to figure out how they were done. I bought some flash equipment and played around until I figured out how to make a subject look as I envisioned it should look.

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.

Beyond the rudiments, it is up to the artist to create art, not the camera.

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.

When I look out [the window] at the big houses on either side of the road, it's obvious we've entered the rich side of town. Poor people don't post signs like NO TRESPASSING, PRIVATE DRIVE, PRIVATE PROPERTY, MONITORED BY CAMERA SURVEILLANCE. I should know because I've been poor my entire life, and the only person I know who ever posted a sign like these is my friend...and he actually stole the sign off a rich guy's yard.

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.

I can't hold a camera anymore.

The camera can photograph thought. It's better than a paragraph of sweet polemic.

There are many reasons why photography does not attract the social and cultural attention it deserves. I would add one more which has received scant attention: it does not make a lot of noise. ... Perhaps photography would be more appreciated if camera shutters fired with the sound of a .357 Magnum.

I love it, to have the same crew. I'm not married. I don't have children. My 17-year-old dog died. I'm kind of on my own. So I really like having the same camera guy for four years. I love looking around and seeing the hair and makeup people who have been there from the beginning.

If life were a camera, I'd have the lens cap on.

If my friends are going to the mountains with guns to fight, I will continue that fight, not with guns but with a 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 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.

I was really awful at auditions. There's something about sitting down and saying into the camera: "I'm Nina and this is the name of my agent." That makes me just die inside.