Quotes About Camera

The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.

The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.

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.

Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.

I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.

The camera can be a machine gun, a warm kiss, a sketchbook. Shooting a camera is like saying, Yes, yes, yes. There is no maybe. All the maybes should go in the trash.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.

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.

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.

Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.

I don't take the camera out with me. My eyes are the camera for me every day.

I found it liberating to sing on camera. On stage, you have to indicate having a thought, and the word you are singing must indicate it as well, but on camera, you can have ideas, you can take in all the stimuli that the character would be taking in, there's a freedom you get, and you don't have the obligation to transmit each idea to the back of the house. It felt so much closer to reality for me.

Do not be afraid of mistakes. They will be with you always,every time you put a camera to your eye. [If you] shoot safe, and don't at least occasionally court disaster, you are not trying. Time to hang up the camera.

When I first started, I would go to Weist-Barron, and I studied with Rita Litton and ACTeen. For teenagers, it's a really, really great school. We did a lot of on-camera stuff, so you see yourself and what you do on camera.

Designing the technical aspects of my camera movement for me is very important. I want the camera to be a big part in telling the story as well, like what I really believe in with all the films I make.

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.

There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"

It took two years of me telling Canon engineers that a camera is a thing between the human hand and the human eye, so it had to have ergonomics on both sides! They got the message, and we did it, and overnight it was the camera of the world. Everyone - Nikon, Yashica, Sony - all copied Colani.

My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.

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.

I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.

When I put the camera back to my eye, I noticed a particular guardsman pointing at me. I said, "I'll get a picture of this," and his rifle went off. And almost simultaneously, as his rifle went off, a halo of dust came off a sculpture next to me, and the bullet lodged in a tree. I dropped my camera in the realization that it was live ammunition. I don't know what gave me the combination of innocence and stupidity... but I never took cover.

I think I've spent more time in front of a camera than off camera. That's just the way it is.

I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.

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.

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.

This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.

David I knock you out! - While pointing to the camera with a smirk.

Memory is a tenuous thing, like a rainbow's end or a camera with a failing lens.

When I'm on camera, I have to do things pretty much the way I do things in everyday life. It gives the audience someone real to identify with.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense.

Sometimes the presence of a camera is like opening a door.

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.

If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.

I'm gay. It feels so weird saying it on camera!

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?"

A good browser, apps, good camera, and fast networking in your smartphone is just expected today.

Men still control the news, both on and off camera.

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.

The camera can photograph thought. It's better than a paragraph of sweet polemic.

I love it, to have the same crew. I'm not married. I don't have children. My 17-year-old dog died. I'm kind of on my own. So I really like having the same camera guy for four years. I love looking around and seeing the hair and makeup people who have been there from the beginning.

I never had a “project.” I would go out and shoot, follow my eyes... I tried to capture with my camera, for others to see.

I went to USC and tried to learn about the other side of the camera a little bit.

It is important to understand what are you trying to capture with a camera. What you want to use this tool for. It helps to begin to search for and concentrate on thematic photography.

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

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.

I want to allow others to reveal and celebrate aspects of themselves that are usually hidden. My camera is a witness. It holds a light up for my subjects to help them feel their own essence, and gives them the courage to collaborate in the recording of these revelations.

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.