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.

Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.

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.

Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.

All I kept thinking about was, "Man, he's so relaxed onstage! I'm never going to be that relaxed! I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera."

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.

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.

It doesn't matter if they're in front of the camera or behind the camera. I know women who are producers who are surviving on nothing but juice and almonds.

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.

I don't know if the camera likes me, but I do like the camera.

People were murdered for the camera; and some photographers and a television camera crew departed without taking a picture in the hope that in the absence of cameramen acts might not be committed. Others felt that the mob was beyond appeal to mercy. They stayed and won Pulitzer Prizes. Were they right?

You're talking about a whole camera crew and being mic'd up professionally everyday and just having another group of people following you around. It's a little different than having friends pick up a camera and follow you around.

When I was 19, I picked up an old, tiny, automatic Yashica camera and I just started shooting. We didn't have iPhones back then, we didn't even have cell phones. I loved having a camera in my hand.

I just feel that I enjoy the work more than I ever have... or just as much certainly... I enjoy making films behind the camera equally to making them in front of the camera on all those years. I just enjoy it, that's all. I've been lucky enough to work in a profession that I have really liked and so I figured I'd just continue until someone hits me over the head and says "get out".

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.

Screen work always boils down to that moment between the camera and the actor or the actors. It always boils down to that, ultimately. You serve the camera.

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

I think about it all the time. I love filmmaking. Whether I'd be in front of the camera or behind the camera, I just love that world.

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.

After you play husband and wife on camera multiple times, it becomes easy to be husband and wife off camera as well.

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 wonderful thing is that Clive [Oppenheimer ] insisted on training his camera - his private camera - on me at one point. We were discussing things such as how to avoid certain dangers, while reflecting on a volcano that had threatened to explode 40 years ago.

On the brilliance of James Brown's dancing − and the frustrations of bad camera-work on dancers:cers: I think James Brown is a genius you know when he's with the Famous Flames, unbelievable. I used to watch him on television and I used to get angry at the camera-man because whenever he would really start to dance they would be on a close-up so I couldn't see his feet. I'd shout "Show him! Show him!", so I could watch and learn.

I bought a camera with my first ever paycheck.

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.

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.

Off-camera, I sound like Perry Como.

In "Virginia Woolf" I had a thing which the grips called the paraplegic which was a wheelchair thing that I had made up years before where I could stand on this bicycle-like device and be pushed down the hall, and then step off it with a handheld camera.

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

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.

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

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.

My aim in photography is always to convey a mood and not to impart local information. This is not an easy matter, for the camera if left to its own devices will simply impart local information to the exclusiveness of everything else.

Over the years I have photographed thousands of people. I have never stopped being curious and trying to discover new worlds. I have used my camera as a mirror for my subjects as well. I remember photographing a woman in her 80s for my book, Wise Women, who told me it had been a long time since anyone had really been interested in "seeing" or photographing her. When she saw the picture, she burst into tears. She saw something in the photograph, an inner beauty and soul, she felt had long ago vanished.

Being an artist, I had an artist's instincts.You can see the picture before it's taken; then it's up to you to get the camera to see

The camera itself, the photograph itself, calls up death.

When they took me to do the camera test for the vampire make up, after they put the prosthetic on, I went though the entire process, I went back to my trailer and I looked in the mirror and I smiled.

Animals give me more pleasure through the viewfinder of a camera than they ever did in the crosshairs of a gunsight. And after I've finished "shooting," my unharmed victims are still around for others to enjoy. I have developed a deep respect for animals. I consider them fellow living creatures with certain rights that should not be violated any more than those of humans.

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

A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories... I don't think that part can be learned. You either have that inside, or you don't.

You can always tell folks from nonfolks. Folks like to feel good, like to smile for the camera when there's a big photo opportunity for a really good cause.

With a camera like that you don't believe you're in the masterpiece business. It's enough to be able to peck at the world.

... I began showing the black border of the negative as part of the image, something I'd never done before. I began to realize that the edge of the negative represents the shadow of the camera, the opaqueness of matter. It casts a shadow on the negative, so it's a photogram as well.

I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.

I just happened to have my camera and be photographing my friends. It was totally innocent; there was no purpose to the photographs. There was a purity to them that wasn’t planned; it was realism.

I don't think I can break down any doors, but I'm thinking, "Maybe I can be a cameraman, because I love the cameras." And the cameraman would show me how to thread the film, how to repair it, the lenses. That's when you become, like, goony goo-goo about it. You breathe and eat camera, and all of a sudden, you don't want anything else in the world. You finally know, "This is my calling." When you're passionate about something, it doesn't become work. It's art and it's fun. It's arduous, it's sweaty.

I saw a man walk into my camera viewfinder from the left. He took a pistol out of his holster and raised it. I had no idea he would shoot. It was common to hold a pistol to the head of prisoners during questioning. So I prepared to make that picture - the threat, the interrogation. But it didn't happen. The man just pulled a pistol out of his holster, raised it to the VC's head and shot him in the temple. I made a picture at the same time. (On his 1968 photograph of the summary street corner execution of prisoner Nguyen Van Lem by South Vietnam's police chief, Lt. Col. Nguyen Ngoc Loan.)

I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.