Quotes About Camera

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)

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.

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)

Looking into my future, I don't always want to be in front of the camera. I want to be behind the camera and bring to life those family members of mine or people that I knew or the kids I grew up. I want people to know the different facets of black people, brown people, all people.

I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.

Elizabeth Taylor is, in my opinion, the greatest actress in film history. She instinctively understands the camera and its nonverbal intimacies. Opening her violet eyes, she takes us into the liquid realm of emotion, which she inhabits by Pisces intuition. Richard Burton said that Taylor showed him how to act for the camera. Economy and understatement are essential. At her best, Elizabeth Taylor simply is. An electric, erotic charge vibrates the space between her face and the lens. It is an extra-sensory, pagan phenomenon.

People were murdered for the camera; and some photographers and a television camera crew departed without taking a picture in the hope that in the absence of cameramen acts might not be committed. Others felt that the mob was beyond appeal to mercy. They stayed and won Pulitzer Prizes. Were they right?

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.

McLeod's Daughters was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera. I learned a lot of technical aspects that you take for granted once you know them, but you have to learn them somewhere, along the way. It was a bit of a training ground for me, working in front of the camera and also dealing with media.

We have African-Americans and black people getting behind the scenes more and more, we get true black images in television and film...because we have black people behind them. They can tell stories from those points of view and bring to life those characters who have yet to be shown. As long as we have people behind the camera just as much as in front of the camera doing the work, then we'll always be good.

Shame works like the zoom lens on a camera. When we are feeling shame, the camera is zoomed in tight and all we see is our flawed selves, alone and struggling.(page 68)

We're so conditioned to the syntax of the camera that we don't realize that we are running on only half the visual alphabet... It's what we see every day in the magazines, on billboards and even on television. All those images are being produced basically the same way, through a lens and a camera. I'm saying there are many, many other ways to produce photographic imagery, and I would imagine that a lot of them have yet to be explored.

So in terms of a large part of the job on our show specifically, what makes the show complex and interesting and funnier are the conversations about "Where's the camera?" and "How aware are the characters of the camera? Are the cameras hidden for this shot? Is it a spy shot from far away? Or is it really close and in their face, and they sort of have to play to it in an embarrassing situation?" There's a whole other level of questions and choices that come into play on our show that are not even a factor in anything else.

The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave, I couldn't believe such a thing could be caught with the camera. I said, 'Damn it', I took my camera and went out into the street.

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.

After you play husband and wife on camera multiple times, it becomes easy to be husband and wife off camera as well.

When I walk with a camera, I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment's light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.

If I want a small take-everywhere camera, I prefer my iPhone 5, which has colors and tonal range superior to any DSLR or compact digital camera I've ever used at their default settings.

I ask my assistants if they're retarded all the time. When the camera is on you, of course, actors have the ability to make it real. For me, if I'm not talking, it is a problem. I have so much more respect for actors after being in front of the camera, and I realize that the hardest part is when you're not talking. Listening is harder than just acting. Listening is the hardest part.

There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.

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.

Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.

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

My acting stopped being about disguise and became about truth which suits the camera, so my film career took off when I came out.

You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

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 truth is I've always been a Christian. What's amazing, is that the flaws that come with Christianity are really weird, because mine have a microphone and a camera attached to them. Most people don't have to live under that microscope.

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?"

No matter how advanced your camera you still need to be responsible for getting it to the right place at the right time and pointing it in the right direction to get the photo you want.

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

I just want to kind of tackle every kind of form that exists in the comedy world; whether it be stand-up or hidden camera or parody. Kind of slap it in a movie with hip-hop artists and actors, comedians and girls. I just want to do something fun.

There is no one who can stop you; you find a mic, a crowd, a set of ears, and nowadays, a camera and YouTube, and you recite your poem. You have your say. I don't want to over-romanticize it: of course, any time an art form ascends, especially when competition is involved, there will be gatekeeping, chauvinism, and other unfortunate dynamics. But the beauty of spoken word and performance poetry is, by and large, its ability to reach people in the moment - right there, right then.

I trained like an animal, but the thing is focus and concentration. When the bell rings it's like when the little red light goes on over the camera. And I can usually nail my lines on the first or second take because I'm right there.

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.

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

I don't trust any camera you can't make out of wood.

I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.

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.

I can't hold a camera anymore.

I don't want to disrespect hip-hop by being something I'm not. I'm Pooch Hall. My strength is in front the camera and holding dialogue.

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

Actors make bad lovers. Their most important kiss is for the camera. Not in a superficial way, in a really deep way. They can only give everything if they know someone is going to shout cut!

Kathie Lee [Gifford] invited me to come to New York for lunch with her - and surprised with an unexpected shout out again for One Thousand Gifts on the show and graciously asked a few questions on camera. Indebted to her and the people who read and looked for Jesus in the pages and shared the hope and joy of Him - right where they are.

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'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.