Quotes About Camera

While working with a camera crew supervising flight testing of advanced aircraft at Edward's Air Force Base, California, the camera crew filmed the landing of a strange disc object that flew in over their heads and landed on a dry lake nearby. A camera crewman approached the saucer, it rose up above the area and flew off at a speed faster than any known aircraft.

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.

Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.

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.

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.

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.

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.

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.

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.

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 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.

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

Shame works like the zoom lens on a camera. When we are feeling shame, the camera is zoomed in tight and all we see is our flawed selves, alone and struggling.(page 68)

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.

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.

I think the theater work and the on-camera work feed off each other. My theater work has become more simple, and my on-camera work has become more energized or more spontaneous.

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!

I am very proud of my husband, both behind the camera and in front of the camera.

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.

Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.

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.

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.

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

I've been a soldier, I've been a bunch of little girls, all sorts of roles that I would not have been able to be with on camera context because I just don't look the part.

The secret of photography is, the camera takes on the character and personality of the handler.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.

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

I like acting too much and it's too, I'm just too busy doing that and I'm too hungry for it, to get behind the camera. I mean, unless I could act in it, too. I don't think I've got the right brain. I'm too disorganized.

The camera is a fluid way of encountering that other reality

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

The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.

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.

In my childhood I was obsessed with cameras but could not afford one. After much persuasion my father Harivansh Rai Bachchan bought me a box camera which I treasured for years. Initially I clicked trees and nature and as I grew up started noticing prettier things-motorbike, sleek cars and cool girls. But the hamartia of life is when you desire something you cannot afford it and when you are able to afford it you are too old to use it. Now I don't need all gadgets but it's satisfying to know that at least I can afford them.

I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.

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

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.

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.

There are many reasons why photography does not attract the social and cultural attention it deserves. I would add one more which has received scant attention: it does not make a lot of noise. ... Perhaps photography would be more appreciated if camera shutters fired with the sound of a .357 Magnum.

If life were a camera, I'd have the lens cap on.

We changed our rules. If a player does not have some sot of altercation on or off the court once each month, we fine him...The guys that are our top four scorers, each of them will be required once every two months to appear on MTV. The guys who shoot the worst free throws over a one-month period, next time we have a TV game they're required to look into the camera and beat their chests after they make a good play.

Actors make bad lovers. Their most important kiss is for the camera. Not in a superficial way, in a really deep way. They can only give everything if they know someone is going to shout cut!

My mom had bought this camera to take classes herself and I remember working with her on it, understanding how the stop-motion [worked], having a high shutter speed and things like that. Long before I picked it up myself, I remember being on a slide at a country club going into the water and wanting my mother to put in on a high shutter speed so she could catch me on the slide without it being blurred. I remember having fun with her: "Let me go on the slide and you'll catch me in motion!" Those are some of the little moments in my artistic making.

The original interest in making pictures that don't directly depict came around '97 or '98, when I felt there was such an acceleration of images in the world, and that was before Flickr and so on. So I felt a need to slow down how one consumes photographs. With the abstract pictures, I was engaged in trying to find new images, but in practice, it was a bit like throwing a wrench in the spokes. The omnipresence of photography is at a level that it has never been in the history of the world. I feel really curious to now reengage and see what the camera can do for me.

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

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.

The way I photograph... in many ways it's directed by chance and all my mistakes, which are often the best stuff. I found that no matter if it's the same tape, the same TV, and the same camera, I can never duplicate an image... your arm jiggles, there's just too much chance. And I never put it on pause, or use any of that fancy equipment.

I am always surprised when I watch the weather report on German television. First they show the map of Europe and then the camera moves to the right. Then comes Kiev, then Moscow and then everything stops. This seems to be the West's view of us - of a wild Russia that begins past Moscow, a place one prefers not to see. This is a big mistake. The West must pay closer attention.