Quotes About Camera

For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.

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 was always in front of the camera. My mom was really passionate about photography - I have pictures of my whole life. I've always just been in front of my mom's camera and it's always comfortable to me.

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

A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.

I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera.

When I was nine, I asked my Dad, ‘Can I have your movie camera? That old, wind-up 8-millimeter movie camera that’s in your drawer?’ And he goes, ‘Sure, take it.’ And I took it, and I started making movies with it, and I started being as creative as I could, and never once in my life did my parents ever say, ’ What you’re doing is a waste of time.’ Never….. I know there are kids out there that don’t have that support system. So, if you’re out there and you’re listening, listen to me: If you wanna be creative, get out there and do it. It’s not a waste of time.

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.

The camera is not only an extension of the eye but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye - visible.

Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.

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.

At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.

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.

When you're acting in front of a camera, you can really give all of your emotions with your eyes so the camera can see it. When you're in voiceover, you can't do that at all. It's a lot tougher because you have to convey this emotion, and you have to have a lot of trust in the animators.

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.

I know every actor says this, but the people behind the camera are great. They always have answers.

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.

In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.

Off-camera, I sound like Perry Como.

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.

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 my hand luggage I always have my camera, iPod, make-up bag, tooth brush, cleansing products, clean underwear, socks and a change of clothes in case anything goes missing at the other end - and of course my passport.

When I look out [the window] at the big houses on either side of the road, it's obvious we've entered the rich side of town. Poor people don't post signs like NO TRESPASSING, PRIVATE DRIVE, PRIVATE PROPERTY, MONITORED BY CAMERA SURVEILLANCE. I should know because I've been poor my entire life, and the only person I know who ever posted a sign like these is my friend...and he actually stole the sign off a rich guy's yard.

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.

Unfortunately, I'm not one of those people who take pictures, you know, carry a camera. Because if I did I'd have stack's and stack's and stack's of different act's. I got a lot here - I know what I done.

Over the years I have photographed thousands of people. I have never stopped being curious and trying to discover new worlds. I have used my camera as a mirror for my subjects as well. I remember photographing a woman in her 80s for my book, Wise Women, who told me it had been a long time since anyone had really been interested in "seeing" or photographing her. When she saw the picture, she burst into tears. She saw something in the photograph, an inner beauty and soul, she felt had long ago vanished.

I don't like to move the camera that much anyway.

If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.

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

As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.

People ask me to smile for the camera, but somehow it always comes out gloomy.

I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.

I'm sure I cause just as much consternation for editors as any other actor, but it definitely makes me feel more comfortable understanding how and why all the different camera setups exist.

The three most disastrous inventions of our time have been the birth control pill, the camera and nuclear weaponry. The first offers sex in terms of sterility, the second reality in terms of fantasy, and the third security in terms of destruction.

A camera can get you close without the burden of commitment. It's a nifty device that way, a magical passport into people's lives with no permanent strings attached.

An actor stands in front of a camera onstage, and he controls time and space for the audience. He tells them how long this will take, where to look, when to look, what to think about it. And good performers should be able to do their part with the sound off.

I think nowadays people are so used taking the camera to the family picnic - so people are less surprised by films made of them, like home movies.

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.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.

A deeper truth the camera can see can be more surprising than even the director imagined it could be. That's a wonderful thing that grows and happens in films.

I would not give my rotating field discovery for a thousand inventions, however valuable... A thousand years hence, the telephone and the motion picture camera may be obsolete, but the principle of the rotating magnetic field will remain a vital, living thing for all time to come.

I'm the sort of person who takes a camera to dinner or a nightclub because I enjoy taking pictures of people. I tweet all my pictures, which is bad.

I don't use any techniques; I'm not trained to be an actor. I just enjoy working in films. It's more instinctive rather than anything else. I don't do the calculated rehearsed kind of approach, and I hope that I can continue that because I believe that instinct is much stronger and greater when you are performing on camera.

One night I had an idea while I was at the movies: to photograph the film itself. I tried to imagine photographing an entire feature film with my camera. I could already picture the projection screen making itself visible as a white rectangle. In my imagination, this would appear as a glowing, white rectangle; it would come forward from the projection surface and illuminate the entire theater. This idea struck me as being very interesting, mysterious, and even religious.

Television is a prisoner of dialogue and steady-cam. People walk down a hall, and the camera follows them around a corner.

I grew up in music theater playing to the audience - singing and dancing and showing off. That's really my background. But the camera's different. I think I'm more at home on stage.