Quotes About Camera

Under examination by the camera, a human body becomes for its inhabitant a field of betrayal more than a ground of communication, and the camera's further power is manifested as it documents the individual's self-conscious efforts to control the body each time it is conscious of the camera's attention to it.

No one was jumping up and saying, 'Yeah, let me give you money.' I had never held a camera in my hand - a home video camera, nothing. I had not directed.

Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.

My creative process begins when I get out with the camera and interact with the world. A camera is truly a license to explore. There are no uninteresting things. There are just uninterested people.

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.

This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.

If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.

When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.

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.

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.

I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.

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.

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.

If a bout of "creepy face" sets in, the trick is to look away from the camera between shots and turn back only when necessary. This also limits how much of your soul the camera can steal.

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.

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 think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.

I'm trying to use the camera to get into people's heads. I use camera techniques a lot to articulate character.

When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.

I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!

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

Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)

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.

Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.

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.

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.

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.

This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.

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

It seems positively unnatural to travel without taking a camera along... The very activity of taking pictures is soothing and assuages general feelings of disorientation that are likely to be exacerbated by travel.

It's like being called up in the draft. The peculiar joy of hemorrhaging without bleeding starts when the evil little red light glows on the monstrous camera.

I know the pleasure you get from making your films. The intense involvement in every aspect: the acting, the camera, the colors, the costumes, even the hair and makeup. Editing is thrilling. Everything to do with films is absorbing - everything but the money part, the business. But I'm deeply glad I've had that experience.

I remember thinking, I want to work for the camera.

I've always been intimidated by the technicalities of taking photos, especially with a film camera - not just a point and shoot.

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.

That was an interesting thing I learned I think the first time I did a late night show or something. It was like, "Oh, this is for the camera and a performance that you're giving to the people at home."

After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.

Many of my family members are teachers in the arts, and I picked up the camera years ago, in high school.

The one hour live debate in the West Wing that we did was one of the most exciting times for me on stage or on camera, because anything could go wrong.

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.

It is inescapable that Ringo was the catalyst for the others. He certainly completed the jigsaw and The Beatles, with Ringo, became a magnet for the great camera artists of the world, a target for the jaded, lately hostile eyes of people who had hardly known that popular music existed.

I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.

The more we can put the camera in a better place, the more we can take the audience on a more extreme journey with that character.

You should always be taking pictures, if not with a camera then with your mind. Memories you capture on purpose are always more vivid than the ones you pick up by accident.

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.

The picture is good or not from the moment it was caught in the camera.

The digital camera is a great invention because it allows us to reminisce. Instantly.

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.