Quotes About Camera

Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.

Some comedians you work with, they only turn on when the camera turn on, and they're like sad-faced clowns when the camera's off. And then, they come alive when the camera come on. And you be like, "Oh, damn. You're not a depressed ball of depression, but you are actually funny."

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."

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.

Everywhere we walked we got plenty of attention due to the camera and sound men. The locals love to get on camera. [...] I'd seen footage of Gandhi surrounded like this and always thought it was because he was very popular, but now I wonder if it was just because he had a camera crew with him.

The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.

The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the 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 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.

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.

'How the West was Won' was very hard, because it was a three cameras technique, meaning three cameras wide. Therefore I wasn't speaking to my fellow performer, I was speaking to a camera, or a line next to the camera. It was difficult to do, because its not real acting. I had to pretend that I was 'seeing' Agnes Moorhead or Jimmy Stewart or Carroll Baker. I wasn't, I was acting to a drawn line. It took me personally two years to make the film, because my character starts at age 16 and I end up being 92 years old in the film. By the end of that production, I was ready for a long nap.

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

Photography today is accomplishing a lofty mission in which every German should collaborate by buying a camera. The German people is ahead of every other in the technical domain and, thanks to its exceptional qualities, the small camera has conquered the whole world... Much is at stake here from the point of view of popular consumer goods and, furthermore, photography has a particularly important political role to play. (Addressing the Berlin Photography Fair, 1933)

I built my own studio. I don't have the professional language to describe it because I'm not a videographer - but I'm a technician. So I get the camera, I get all the things that translate the camera to the computer, I set up a live session, I do the security on it, I set up a background so I can key it out, like newscasters do, and replace it with whatever I want - and I can be anywhere I need to be.

[The small camera] taught me energy and decisiveness and immediacy ... The large camera taught me reverence, patience, and meditation.

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 got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.

I got my first camera when I was 21 - my boyfriend gave it to me for my birthday - but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.

And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.

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.

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.

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

I just use [the camera]. I just pick it up like an axe when I've got to chop down a tree. I pick up a camera and go out and shoot the pictures I have to shoot.

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 like working on one - camera. This is not false modesty, but I don't think I'm very good at three - camera. And it's not that I'm nervous, but I just sort of feel like my collar is too small, or my clothes don't fit. I don't understand what that is. And I don't understand the format: There's an audience in front of you that you're playing to, but there are also these cameras.

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.

I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?

Guys don't understand great art. They don't care that sometimes the camera has power beyond the photographer to record emotion that only the heart can see. They're threatened when the camera jumps ahead of me. Todd Kovich was pissed when I brought my Nikon to the prom, but I'd missed too many transcendent shots over the years to ever take a chance of missing one again. A prom, I told him, had a boundless supply of photogenic bozos who could be counted on to do something base.

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.

I have produced all my music videos. Love to get behind the camera and get involved in the editing process.

When gifts are given to me through my camera, I accept them graciously.

Photos should focus on your waist up, unless you have amazing legs. Then it's okay to include one or two full-body shots in your gallery. The majority of your photos should be closer up, highlighting your face. Don't stage a smile. Instead, try to laugh just before the shot is taken. Flirty smiles that don't look cheesy also work. Make eye contact with the camera. Aim to take most of your photos outdoors.

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.

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.

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.

Although I was entirely relaxed on camera, if I had to stand up and say something to an assembled group of people, I was rendered all but inarticulate.

I'd come up with one leg in theater, but never my first leg. I loved the camera too much.

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.

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.

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.

The camera is a fluid way of encountering that other reality

I worked on 'Sarah Connor' even longer than 'Firefly.' And I always remembered how generous everyone was to me when I didn't know what to do, and I didn't know the rules, and I didn't know camera angles, and I didn't know lighting.

Off-camera, I sound like Perry Como.

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

The one hour live debate in the West Wing that we did was one of the most exciting times for me on stage or on camera, because anything could go wrong.

I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making.

The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.

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.