Quotes About Camera

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.

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.

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.

Baby she look like a star, but only on camera, only on camera, only on camera.

I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.

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.

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

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.

I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people's most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.

If you can shoot well, all you need is a disposable, toy camera or a camera phone to create great work. If you're not talented, it doesn't matter if you buy a Nikon D3X or Leica; your work will still be uninspired.

I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.

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?

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

In case you haven't heard, my girlfriends and I have declared the summer of 2012 as the best summer ever. The best way to document said 'best summer ever' is with a good ol' disposable camera. Smile, click, move on! Nobody gets pic approval, and there's no time wasted gathering around the camera to analyze a moment that just happened.

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.

And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.

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.

Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.

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.

Never ever say the word shoot when you are taking a picture with a camera because a camera is not a violent weapon.

I've always had two principles throughout all my life in motion-pictures: never do before the camera what you would not do at home and never do at home what you would not do before the camera.

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

If I didn't follow my passion for surfing... I would have never come up with the concept to make a wrist camera.

Youll never see a good performance out of me, in terms of a character, when the camera isnt rolling.

The learning curve on soaps is through the roof because it's a three-camera setup. There's a master and then there's two singles. And the great thing about soaps, and soap actors will tell you, is that when you get your line wrong, they don't re-shoot it. They just cut to the person listening.

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

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 remember thinking, I want to work for the 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.

I had gotten rid of the crying when I got to high school, though it happened again when I was a junior. We lost in the state championship. It was kind of the same situation, camera in my face, and then that's when I realized it was over I had my moment.

I'm not used to being in front of a camera as myself. I'm not used to watching myself as myself.

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 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.

Since a camera is something too heavy for women and initially made for men, you need a good cameraman.

I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.

I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.

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.

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!

I don't want to disrespect hip-hop by being something I'm not. I'm Pooch Hall. My strength is in front the camera and holding dialogue.

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

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

The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.

I grew up in New York, so I fell in love with acting on a stage, not in front of a camera.

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.

I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.