Quotes About Camera

The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.

The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.

I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.

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."

I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.

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.

I hate cameras. I hate cameras and I hate camera phones. The camera's my worst enemy and my best friend. It's the way I convey my emotions to the world without saying a word, so I use it. People always say, 'You come alive as soon as the camera's on!'

It helps so much being on location. It's like the difference between performing for the rectangle of the camera versus a world being created and then the camera finds things within that. There's a huge difference in that, because what it takes away is performance. You don't feel like performing. You're just kind of doing it. You're existing.

I know what to do with the camera because I see the giant in the camera when I'm operating it live on the set.

You should never use the camera to make your pictures. You use yourself, your experience to make the picture with the camera. Not the other way around.

The camera is a remarkable instrument. Saturate yourself with your subject, and the camera will all but take you by the hand and point the way.

There is nothing worse than when actors come to a set - and it happens a lot with big stars - and they are too aware of where the camera is. They are the show. And that becomes apparent and it affects the production. I am like 'You should not know where the camera is - you should act, and I will do the rest.'

Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are.

The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.

The fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.

I feel like God has moved me into a different way of doing things. I teach basic on-camera acting class called Acting 101...In my classroom, the students get every ounce of encouragement and craft and anything I'm able to give them.We have some rules. We don't take the name of The Lord in vain. We don't use foul language when we mess up on camera...There's a climate of safety...They feel very protected.

I bought my first camera to photograph my brother's children. I learned a lot from that experience. The value of innocence and of not being focused on yourself, and I have to say that these things have remained with me to this day. I can immediately feel when someone is putting on a camera face.

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

I've been working in Hollywood for a long time now in many different aspects in front of the camera, behind the camera, and I've worked with top executives, presidents of networks. I've worked all around. I see energy and what's around these studios and a lot of these offices. You don't get the high positions in these companies if you don't take advantage of other people in some way. I've seen that around. I've seen that around the studios, whether it's producers or whoever. Egos are there. Greed.

The camera is a natural attraction for a politician. And if a camera is here, we're going to be here. And we're going to say something, even if we have nothing to say.

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.

Anyone who looks for life can find it... and they don't need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can't be a Nice Nelly and take news pictures.

I enjoyed being at Jurassic Park, with Jeff Goldblum and Sir Richard Attenborough. It's funny, because Steven Spielberg would actually operate the camera sometimes. He'd consider the camera, and he'd be kind of looking at me. He actually shot a few of the things that I'm in, in that lab, with that long ash dangling off that cigarette. Hogging that fake cigarette. Because I had quit smoking, and he wanted to make sure I didn't go back, so he got me the worst-tasting fake cigarettes ever.

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 know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.

I have a lot of appreciation for what people do in front of the camera as well as behind the camera. I don't think I could like one without the other. Eventually, I think the road will lead me down to producing or directing, because it's more about problem solving.

Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.

For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.

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.

I bought a camera with my first ever paycheck.

As small, quick, foolproof cameras became generally available, moreover, the camera has been used so much and so flabbily by so many people that it has acted as a sort of contraceptive on the ability to see.

When you start using more expensive cameras, everything around it gets more expensive, which is something we hadn't necessarily taken into account beforehand. Your lighting package gets way more expensive, and then coloring it is going to be more expensive. So I think all of that will essentially be cushioning our camera package. Budgets beget budgets, and expenses beget expenses.

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.

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.

Some people like doing crossword puzzles or Sudoku. I love auditioning. On camera, I hated auditioning. But voiceovers I like trying to figure it out, then getting in there and seeing how close you can get.

I do have a concern about projecting. I've never projected or had any reason to project before. In fact, the camera has only gotten closer to me going from TV to film.

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.

There is a part of me that still wants to go out and grab a backpack and unplug - not take a cellphone or even a camera and just get out there and experience the world and travel. I have yet to do that, but someday I hope.

I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.

The thing is that when you don't carry a camera, that's when you see pictures in particular, or at least that's when you think you see pictures in particular. When you do carry it, if you do see one on the occasion that you do, you can take it.

My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.

After I discovered my degree in photojournalism would only get me a job in a camera store, I taught myself lighting. I read tons of magazines and books and studied the photos trying to figure out how they were done. I bought some flash equipment and played around until I figured out how to make a subject look as I envisioned it should look.

When you grow up on camera and in the public eye, you feel you have to put forth this image. I just took that to the extreme and there was a lot of pressure on me

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.

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

As Mike Bickle said to me, there is a spiritual battle going on in the world, and he believes that in America marriage between a man and a woman will become illegal. He believes there will be a war. He believes it'll begin in schools and the Christian kids will rise up and slay the non-Christian kids. This was an on-camera interview!

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.

A good writer writes with a camera, not a pen.