Quotes About Camera

You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.

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 could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.

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 really feel like you're on the cutting edge and you know you are because all the camera equipment you take for granted doesn't exist for 3-D. So all the cranes with all the stabilized heads, they don't work on 3-D because they're all built for lightweight camera packages. As soon as you kind of put two cameras together and all the other crap that they need and the cabling to go back to the computers, we've literally, the cranes on these movies, they break after a couple of days.

I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people's most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.

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

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.

I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.

So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.

What some highbrows call rapport is nothing more than a mild flirtation between photographer and the girl on the other side of the camera. Some models get so professional they can send hours flirting with the camera itself while the poor photographer is reduced to the role of spectator.

I'm trying to use the camera to get into people's heads. I use camera techniques a lot to articulate character.

There are photographic fanatics, just as there are religious fanatics. They buy a so-called candid camera there is no such thing: it’s the photographer who has to be candid, not the camera.

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

I think I've spent more time in front of a camera than off camera. That's just the way it is.

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.

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.

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.

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

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.

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.

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.

The secret of photography is, the camera takes on the character and personality of the handler.

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

I'm a big believer in just using CGI to polish what you get on camera.

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.

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.

It's hard to put yourself in front of a camera, in front of the world, when you don't feel like you look the part. I've always had that problem. But I deal with it every day. When I'm interviewing, I'm like, "How do I look? Do I look all right?"

If it doesn't feel like a job and I'm learning something and getting that rush that I get, I don't care if it's behind a camera, on a TV set, or on the moon.

I like the smell of film. I just like knowing there's film going through the camera.

In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.

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.

The close-up has no equivalent in a narrative fashioned of words. Literature is totally lacking in any working method to enable it to isolate a single vastly enlarged detail in which one face comes forward to underline a state of mind or stress the importance of a single detail in comparison with the rest. As a narrative device, the ability to vary the distance between the camera and the object may be a small thing indeed, but it makes for a notable difference between cinema and oral or written narrative, in which the distance between language and image is always the same.

My mom had bought this camera to take classes herself and I remember working with her on it, understanding how the stop-motion [worked], having a high shutter speed and things like that. Long before I picked it up myself, I remember being on a slide at a country club going into the water and wanting my mother to put in on a high shutter speed so she could catch me on the slide without it being blurred. I remember having fun with her: "Let me go on the slide and you'll catch me in motion!" Those are some of the little moments in my artistic making.

I feel like an artist often turns the camera on themselves and on their own families to understand who they are.

I've got the luxury of being able to work largely alone, so I don't need to communicate difficult creative classeas to other people and can leave the whole thing in my head or on scattered notes and sketches that only I need to understand. So I can very radically and quickly change things as I go without tripping anybody else up. And the camera allows me to experiment and try new things on the fly.

Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.

To not be self-conscious of your appearance is huge, and something that I desperately hope to carry into film at some point in my useless life - to not be thinking, "My ear looks weird from this angle, why is the camera over there?"

When the camera comes on, I am not Hayden any more, I am Lizzie!

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

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

Very often people looking at my pictures say, 'You must have had to wait a long time to get that cloud just right (or that shadow, or the light).' As a matter of fact, I almost never wait, that is, unless I can see that the thing will be right in a few minutes. But if I must wait an hour for the shadow to move, or the light to change, or the cow to graze in the other direction, then I put up my camera and go on, knowing that I am likely to find three subjects just as good in the same hour.

I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy... It's you. You're on. You've got to do it, and you either sink or swim with what you've got.

I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.

It's a very long and difficult schedule on a single-camera show.

The development of fast film allowed the subjects of our photographs to be caught unawares, beyond our or their control. But they are nevertheless caught; the camera holds the last lanyard of control we would forgo.

I get that same queasy, nervous, thrilling feeling every time I go to work. That's never worn off since I was 12 years-old with my dad's 8-millimeter movie camera.

If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.