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.

It's a hard job to get the camera to see it like you see it. Sometimes you have it just the way you want it, and then you look in the camera and you don't have the balance. The main thing is to get the camera to see it the way you see it.

Look, I really do not care about you. What I care about is the worlds that you bear witness to. You are nothing more than a dog with a video camera strapped on its back. As you walk the streets looking for a place to mate or piss or eat, the camera is on and we will see the world because of you... You carry the camera and we enjoy the world. (On images as autobiography)

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.

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.

I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.

I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more 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.

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.

My creative process begins when I get out with the camera and interact with the world. A camera is truly a license to explore. There are no uninteresting things. There are just uninterested people.

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.

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

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.

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.

There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"

If a bout of "creepy face" sets in, the trick is to look away from the camera between shots and turn back only when necessary. This also limits how much of your soul the camera can steal.

Being behind a camera, in front of the camera, is my own little deconstructionist niche.

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 love making films, and as long as I love the subject, I just have a crazy amount of passion and energy for the project. The project that influenced me the most is this cooking show I do online. I film it all myself, and I think making so many of those gave me the confidence that all I need is a camera, and I could go and do an interview. The freedom to be a filmmaker - you just need a camera.

If I had to give advice to other photographers, I would first suggest quickly getting over the camera equipment questions. In my humble opinion, the make and format of a camera is ultimately low on the priority scale when it comes to making pictures.

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.

In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show.

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 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'm more of a short-hair girl; short hair is a lot more low-maintenance than long hair. And when you're in front of camera every day and your hair is being flatironed and blow-dried it's easier to have a weave so you don't damage your own hair.

It seems positively unnatural to travel without taking a camera along... The very activity of taking pictures is soothing and assuages general feelings of disorientation that are likely to be exacerbated by travel.

I like to know where the camera is.

I remember they did all the makeup tests on me for Darla... Sorry, for "the vampire." I was the test monkey for the vampire look, so I went through numerous variations of the prosthetics and camera tests before I actually got the job.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.

The work I enjoy is when the camera rolls, and I like the work in the moment.

We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.

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

I like acting too much and it's too, I'm just too busy doing that and I'm too hungry for it, to get behind the camera. I mean, unless I could act in it, too. I don't think I've got the right brain. I'm too disorganized.

Many of my family members are teachers in the arts, and I picked up the camera years ago, in high school.

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.

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 love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

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

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.

I went to USC and tried to learn about the other side of the camera a little bit.

My aim in photography is always to convey a mood and not to impart local information. This is not an easy matter, for the camera if left to its own devices will simply impart local information to the exclusiveness of everything else.

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.

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.

When they took me to do the camera test for the vampire make up, after they put the prosthetic on, I went though the entire process, I went back to my trailer and I looked in the mirror and I smiled.

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.

I realized the exciting place was behind the camera with the producer, director and so on.

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

'How do you balance the creative with the biblical?' One could pick up the scripture and read it to oneself and you would be communing directly with that information. As soon as you go into film, as soon as there's a camera, and there's an angle, and there's lighting, and there's editing, you're into the adaptation.