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.

Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.

Physically, rowing was remarkable resistant to the camera... the camera liked power exhibited more openly, and the power of the oarsmen [is] exhibited in far too controlled a setting. Besides, the camera liked to focus on individuals, and except for the single scull, crew was sport without faces.

It was extremely useful to grow up in front of the camera. It gives the camera no significance. I think it helped me have perspective on things. The attraction that Hollywood can have, I feel like I'm over that. Instead I just concentrate on acting.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.

When I got the camera on the shoulder, they give me a nickname. They call me 'the tripod' because I'm kind of short and kind of strong. So if I take the camera and I lock myself, you think that you're on a crane.

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 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.

I used to always love taking photos, but I would always give a camera away to someone else. Now I don't give the camera away anymore. It also takes a long time to develop a visual style, and I think that the things that I was imitating were people I love, like Judy Linn or Gerald Turner, and then it slowly started to become more myself.

So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.

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

The camera is not only an extension of the eye but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye - visible.

My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.

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.

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!

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'd been trying to retire to the back of the camera for quite a few years. And then, in 1970, when I first started directing, I if I could pull this off, I can some day just move in back of the camera and stay there.

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.

There's always been a shortage of roles for three-dimensional women, no matter what age. If you look at the statistics on women in film, be they behind the camera or in front of the camera, and it's pretty nauseous-making. It always has been.

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 love making films, and as long as I love the subject, I just have a crazy amount of passion and energy for the project. The project that influenced me the most is this cooking show I do online. I film it all myself, and I think making so many of those gave me the confidence that all I need is a camera, and I could go and do an interview. The freedom to be a filmmaker - you just need a camera.

If I had to give advice to other photographers, I would first suggest quickly getting over the camera equipment questions. In my humble opinion, the make and format of a camera is ultimately low on the priority scale when it comes to making pictures.

Some people come up to be directors by coming through the camera department and there's not a lot of women in the camera department. The ones that are have to kind of prove they're one of the boys, I think. I don't want to get into trouble with generalisations but I think it's a fair observation.

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

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

I remember they did all the makeup tests on me for Darla... Sorry, for "the vampire." I was the test monkey for the vampire look, so I went through numerous variations of the prosthetics and camera tests before I actually got the job.

The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.

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.

It's hard to put yourself in front of a camera, in front of the world, when you don't feel like you look the part. I've always had that problem. But I deal with it every day. When I'm interviewing, I'm like, "How do I look? Do I look all right?"

There's something essentially fictive about a photograph. That doesn't mean that if you understand that, and you understand how the world is transformed by the camera, that you can't use the limitations or the transformation to have an observation that is a very subtle perception of the world.

I took a leave of absence from the internet company where I was working and bought a camera and a copy of Final Cut Pro editing software and made my first feature film, "Street Fight." It followed a crazy, racially charged mayoral election in Newark, NJ in which a young guy named Cory Booker was taking on the political machine of that city. It went on to be nominated for an Oscar and Emmy and was a real example of DIY film-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.

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

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.

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.

New video gaming systems are coming out that track every joint of your body. It's basically going to become a normal thing for us to allow Microsoft to put a three-dimensional camera on top of your television set looking at you, which sounds like a Big Brother scenario if ever I heard one, but, still, it's what we're going to allow.

I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.

Anybody doesn't like these pitchers don't like potry, see? Anybody don't like potry go home see television shots of big hatted cowboys being tolerated by kind horses. Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the poets of the world. To Robert Frank I now give this message: You got eyes.

It's a very long and difficult schedule on a single-camera show.

I do photography and I studied film at school. So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.

I don't use any techniques; I'm not trained to be an actor. I just enjoy working in films. It's more instinctive rather than anything else. I don't do the calculated rehearsed kind of approach, and I hope that I can continue that because I believe that instinct is much stronger and greater when you are performing on camera.

When it comes to the camera, I can do my thing. But I'm bashful.

Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.

If you are walking down the street, camera in your hand, loaded and ready to shoot. You see a person falling from a high building, either having fallen or jumped. That person is falling through space. You don't shoot that photograph unless the theme you are working on has to do with the effects of space on the human figure. If you simply photograph that event because it is an event that is happening, you're doing photojournalism.

And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.

Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.