Quotes About Camera

I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.

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.

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."

Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.

My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.

With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.

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.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on 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.

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.

A camera is a camera, a shot is a shot, how you tell the story is the main thing.

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.

If you can shoot well, all you need is a disposable, toy camera or a camera phone to create great work. If you're not talented, it doesn't matter if you buy a Nikon D3X or Leica; your work will still be uninspired.

You're talking about a whole camera crew and being mic'd up professionally everyday and just having another group of people following you around. It's a little different than having friends pick up a camera and follow you around.

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.

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.

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.

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.

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.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

On the brilliance of James Brown's dancing − and the frustrations of bad camera-work on dancers:cers: I think James Brown is a genius you know when he's with the Famous Flames, unbelievable. I used to watch him on television and I used to get angry at the camera-man because whenever he would really start to dance they would be on a close-up so I couldn't see his feet. I'd shout "Show him! Show him!", so I could watch and learn.

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

When someone's acting for a scene, they can fool the camera. But in everyday life, unless you're watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.

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.

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

I took a leave of absence from the internet company where I was working and bought a camera and a copy of Final Cut Pro editing software and made my first feature film, "Street Fight." It followed a crazy, racially charged mayoral election in Newark, NJ in which a young guy named Cory Booker was taking on the political machine of that city. It went on to be nominated for an Oscar and Emmy and was a real example of DIY film-making.

I think I was very shy and introverted when I was younger, and yet, when I got in front of the camera or went out on the town, I was able to go out half-naked and do anything.

And I also have a camera, a Web cam, and I have one at home, so I can hook up and talk to the girls, and they can see me while we're on the bus in the middle of nowhere.

Sensitive people faced with the prospect of a camera portrait put on a face they think is one they would like to show the world very often what lies behind the facade is rare and more wonderful than the subject knows or dares to believe.

There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.

I've always thought that when anyone receives an award for acting they should always thank their fellow actors, because the only way you're going to deliver your best performance is when you have other good actors on the set supporting you and being very present for you even when the camera is not on them.

The way I photograph... in many ways it's directed by chance and all my mistakes, which are often the best stuff. I found that no matter if it's the same tape, the same TV, and the same camera, I can never duplicate an image... your arm jiggles, there's just too much chance. And I never put it on pause, or use any of that fancy equipment.

I am always surprised when I watch the weather report on German television. First they show the map of Europe and then the camera moves to the right. Then comes Kiev, then Moscow and then everything stops. This seems to be the West's view of us - of a wild Russia that begins past Moscow, a place one prefers not to see. This is a big mistake. The West must pay closer attention.

The camera is first a means of self-discovery and a means of self-growth. The artist has one thing to say - himself.

We worked six days a week [on the The Breakfast Club], so you have one day off. So on that Saturday night, it's not like we could all go out and have a drink because Molly [Ringwald ] and Michael [Hall] weren't old enough. And Ally [Sheedy] pretty much kept to herself. So Emilio and I, every Saturday night, would go into Chicago because we were shooting outside of Chicago in Des Plaines. It's so funny, because even though we might be adversaries in the film, we certainly weren't off-camera. He's a very funny guy.

I was so lucky to be working with amazing actors like Shia and Evan and James Buckley and Mads Mikkelsen and Rupert Grint and Til Schweiger and those guys, so you really want to make sure that they, that I don't have to shut off the camera because I'm running out of film or it becomes too expensive.

The upsides of acting in things is mostly getting your hair done and having people give you clothes. So as long as you can have a little bit of that in your life, then it's just as delightful to be behind camera.

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 don't think I can break down any doors, but I'm thinking, "Maybe I can be a cameraman, because I love the cameras." And the cameraman would show me how to thread the film, how to repair it, the lenses. That's when you become, like, goony goo-goo about it. You breathe and eat camera, and all of a sudden, you don't want anything else in the world. You finally know, "This is my calling." When you're passionate about something, it doesn't become work. It's art and it's fun. It's arduous, it's sweaty.

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.

When I was younger, I read a book by Frank Barnaby, this wonderful nuclear physicist. He said that media had a responsibility, that all sectors of society had a responsibility to try and move things forward. And that fascinated me... I'd been messing around with a camera most of my life...

The photographer who attempts to fit happily into the world by using the traditional perspective of the camera will end up falling into the hole of the "idea" he has dug for himself.

I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.

Nothing happens when you sit at home. I always make it a point to carry a camera with me at all times...I just shoot at what interests me at that moment.

A kiss with anyone, on or off camera, can be intimidating. I’ve been kissing for nearly two decades now, and I’m always convinced I’m not doing it right. Chemistry is so important in a great kiss. You can act your way through anything, but it’s hard with a kiss.

But don't get caught out there looking goofy. It's weird. When you do something that stinks, it's going to last forever on the Internet. There's always someone in the audience with a camera phone and if you're not 100%, you're going to be watching yourself on YouTube.