Quotes About Camera

Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.

I like the ending of the movie [War Horse], simply because it's such a demanding scene emotionally, and yet [the look] is all done on camera. I like the work not to be manipulated digitally. And it's all done on camera [in that scene].

Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.

It is clear enough by now to most people that the camera never lies is a foolish saying. Yet it is doubtful whether most people realize how extraordinarily slippery a liar the camera is.

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.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

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)

We're so conditioned to the syntax of the camera that we don't realize that we are running on only half the visual alphabet... It's what we see every day in the magazines, on billboards and even on television. All those images are being produced basically the same way, through a lens and a camera. I'm saying there are many, many other ways to produce photographic imagery, and I would imagine that a lot of them have yet to be explored.

Being behind a camera, in front of the camera, is my own little deconstructionist niche.

With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.

I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn and I would skip class to shoot my scenes. It was terrifying and I entirely self-conscious in front of the camera.

Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.

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.

Jack [Nicholson] really knows about the camera. He's one of the directors who likes to play with the camera. He'll change things around, play with lighting, things like that. He'll even spend hours on the set-up for an insert shot. He's an interested person who gets involved in all the aspects of the films he is making.

The only thing which completely was an amazement to me and brought me to photography was the work of Munkacsi. When I saw the photograph of Munkacsi of the black kids running in a wave, I couldn't believe such a thing could be caught with the camera. I said, 'Damn it', I took my camera and went out into the street.

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.

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.

I want my fellow citizens to wise up and stop falling for [war]. I try with my limited access, I'm not getting into Kabul with a camera, they're not letting me get into Benghazi with a camera. I do what I can with my flimsy American passport and a visa. The photos are a bit more heavy from Southern Sudan and Haiti and Cuba.

Guys don't understand great art. They don't care that sometimes the camera has power beyond the photographer to record emotion that only the heart can see. They're threatened when the camera jumps ahead of me. Todd Kovich was pissed when I brought my Nikon to the prom, but I'd missed too many transcendent shots over the years to ever take a chance of missing one again. A prom, I told him, had a boundless supply of photogenic bozos who could be counted on to do something base.

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.

Ever since the invention of the camera, people have been trying to create 3D, because we see things in 3D, and everyone's aware that the camera doesn't.

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.

In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show.

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

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

Although I was entirely relaxed on camera, if I had to stand up and say something to an assembled group of people, I was rendered all but inarticulate.

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

In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.

Human vision is untrustworthy, subjective and selective. Camera vision is total and non - objective.

The camera can move, you can make the shots, blah blah blah, but as long as the actors are good, you have something.

Men still control the news, both on and off camera.

When you grow up on camera and in the public eye, you feel you have to put forth this image. I just took that to the extreme and there was a lot of pressure on me

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

When I look out [the window] at the big houses on either side of the road, it's obvious we've entered the rich side of town. Poor people don't post signs like NO TRESPASSING, PRIVATE DRIVE, PRIVATE PROPERTY, MONITORED BY CAMERA SURVEILLANCE. I should know because I've been poor my entire life, and the only person I know who ever posted a sign like these is my friend...and he actually stole the sign off a rich guy's yard.

If in all ideology men and their circumstances appear upside-down as in a camera obscura, this phenomenon arises just as much from their historical life-process as the inversion of objects on the retina does from the physical life-process.

I saw a video on YouTube of a girl who had very similar reactions to late-stage Lyme disease as I did. And I thought it was crazy. And when I saw her basically have a seizure on camera that looked very much like my seizure I felt, "Oh my god. That's me." And so it was really important to me, and I said to Sini, 'We have to find some way to not just talk about Lyme disease, but to show it.

Sensitive people faced with the prospect of a camera portrait put on a face they think is one they would like to show the world very often what lies behind the facade is rare and more wonderful than the subject knows or dares to believe.

I'm a very creative person, and you know when I hooked up with Benny Boom, I said I want it to be a different kind of video. I want it to be crisp, and I want it to relate, [and] not to be so far over people's heads. And that's when we came up with the p-t-d-d-d-d-d (camera flashes.) You know with the picture changing, and that's it.

I feel like an artist often turns the camera on themselves and on their own families to understand who they are.

The camera can film my face but until it captures my soul, you don't have a movie.

I've got the luxury of being able to work largely alone, so I don't need to communicate difficult creative classeas to other people and can leave the whole thing in my head or on scattered notes and sketches that only I need to understand. So I can very radically and quickly change things as I go without tripping anybody else up. And the camera allows me to experiment and try new things on the fly.

To not be self-conscious of your appearance is huge, and something that I desperately hope to carry into film at some point in my useless life - to not be thinking, "My ear looks weird from this angle, why is the camera over there?"

The three most disastrous inventions of our time have been the birth control pill, the camera and nuclear weaponry. The first offers sex in terms of sterility, the second reality in terms of fantasy, and the third security in terms of destruction.

The act is in itself a lie. You're faking something. The girl is lying there, she's pretending that she doesn't know the camera's on, she's getting banged, and "accidentally" it leaks out? Everyone leaks their own sex tapes! That's a ploy to get famous - that's not about the sex. It's not like when Madonna did her Sex book, and it was an artistic endeavor where she acknowledged it and spoke about it and was so upfront about it. It's different. It's not upfront. It's not honest. It's a ploy to get famous.

I think nowadays people are so used taking the camera to the family picnic - so people are less surprised by films made of them, like home movies.

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.

Sometimes my fashion pictures can look a little bit like documentary style pictures. So having a camera in my hand was normal.

Some people's lives seem to flow in a narrative; mine had many stops and starts. That's what trauma does. It interrupts the plot. You can't process it because it doesn't fit with what came before or what comes afterward. A friend of mine, a soldier, put it this way. In most of our lives, most of the time, you have a sense of what is to come. There is a steady narrative, a feeling of "lights, camera, action" when big events are imminent. But trauma isn't like that. It just happens, and then life goes on. No one prepares you for it.