Quotes About Camera

You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.

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.

The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.

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 don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture. You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable.

The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.

I don't think it's necessary to worry too much about being authentic. I think a picture taken on an iPhone and then filtered through something to make it look like it was taken on a Super 8 camera can be just as authentic as something taken on a Super 8 camera, if it's capturing something real or beautiful.

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.

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.

Basically, if you shoot your own stuff, you can just pick up a camera and some wireless microphones, grab a couple of LEDs, and you're off and running. And if you don't shoot your own stuff, you can just grab one other person to do camera and you can learn how to do the sound, and you're off and running.

As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.

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.

Whenever there's a camera around, a video or film camera, it's a great deal harder for those in power to bury the story.

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

I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.

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.

Editing can alter the original meaning and context, and computers can alter the image itself. The camera can also be manipulated. At the very least, it must be turned in one direction - only one direction at a time ... Who chooses what direction to point the camera, and why?

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.

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.

There's a certain way people are used to seeing nude women, and that's in a submissive, coy pose, not looking at the camera. And in this poster, I'm looking dead into the camera with no expression on my face. I think it freaks a lot of people out.

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.

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.

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 really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.

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.

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.

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.

On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.

My acting stopped being about disguise and became about truth which suits the camera, so my film career took off when I came out.

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.

In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.

Kevin Costner has feathers in his hair and feathers in his head. The Indians should have called him 'Plays with Camera.

I'm sure favorite moments in movies are things that just happen accidentally when the camera is there. You have to do all the homework to get yourself into the period, the costumes, the style, the voice, the hairdo or whatever it is, but once you've done all that work, you have to kind of let it go and just be there. If you're always thinking about it, it just looks a bit over-thought.

I understand the opposite side of the camera. I have a profound respect for that. I have worked with people who, when you hit that mark, are doing 50 percent of your work for you. So, you know, it's a balance. When you walk into a mark and you're lit a certain way or something's happening so often you don't know what's behind you... And that's what's so strange about being a movie actor.

The lowest stress environment is the radio show. I am not on camera and I can let the music do the talking. The rest is more highly pressurized or in the case of writing, time intensive task. I say yes to all of it and like all of it but the radio show, by nature of what it is, is the least hassle.

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

I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making.

I think you should do rehearsal and work at it, but when the camera rolls, you should be ready. Try to make it good the first time.

Animators do amazing working translating and interpolating the characters [in the Planet of the apes], the facial performances. What we're creating on set - if you don't get it on the day, in the moment, on set, in front of the camera, with the director and the actors. The emotional content of the scene and the acting choices.

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've learned survival secrets from being on camera, and then translated them into everyday life.

I know a lot of people who are very good at their craft who have learned - people behind the camera - who really have a lot to offer because they know what they're doing, they know what to do, they've made their mistakes.

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.

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.

The thing about being a photographer that's so cool is that you get to participate, but you also get to disappear. The camera is in front of your face all the time.

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.

My urge to photograph is activated by an almost biological instinct for preservation from disorder. The camera is a mechanical apparatus that extends my natural ability and desire for meaningful organization. I need it to survive.

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.