Quotes About Camera

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.

Now everyone's main objective of taking photographs is to have a photograph for Twitter or Facebook. I find that troubling. If you have an opportunity to meet the Dalai Lama, don't work out your camera or iPhone issues. Sit and a listen to what the man is saying, because nine times out of 10, you're not going to look at that photo. You're not going to look at the video. As a photographer, I don't carry a camera. I have my iPhone, but I don't carry a camera. I want to live.

It would be great to do another television show that was a multi-camera because the hours are so wonderful and you can be a good mom at the same time. The problem is, there aren't a lot of multi-camera shows that I personally like. My aesthetic is more geared toward single-camera shows.

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.

I don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture. You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable.

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.

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.

My creative process begins when I get out with the camera and interact with the world. A camera is truly a license to explore. There are no uninteresting things. There are just uninterested people.

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 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.

Onstage, I enjoy the thrill of live performance - there is no substitute for that rush. On camera I enjoy the crafting of a scene, the widespread creative marksmanship happening all around you for every second of footage. Onstage you can suddenly feel solitary, like it's all on your shoulders, while on camera you feel like there are so many people working with you on every shot. Those are each unique and gratifying challenges.

With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.

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.

As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible, but unfortunately every digital camera (and every scanner that captures traditional photos) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure-there's a cast.

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

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.

It is not a camera, or a reporter that makes something real and genuine; more often a camera or a reporter does the opposite.

When gifts are given to me through my camera, I accept them graciously.

You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.

When I'm on camera, I have to do things pretty much the way I do things in everyday life. It gives the audience someone real to identify with.

The naked figures in the landscape have willingly undressed for my camera. They are either perfect beings heroically occupying their Edens, or else they are gardeners after the Fall, lost and exposed to both the elements and the lens.

We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.

No matter how advanced your camera you still need to be responsible for getting it to the right place at the right time and pointing it in the right direction to get the photo you want.

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

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.

You should always be taking pictures, if not with a camera then with your mind. Memories you capture on purpose are always more vivid than the ones you pick up by accident.

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.

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

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.

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.

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 like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

I love being on stage or in front of the camera. My work brings me a lot of joy. It helps me figure out who I am. I'm really lucky that I get to make a living at acting.

Sometimes you're watching a great film actor, and if you stand 10 feet away from them, you're like, "God, they're terrible. They're not doing anything." And then you see the close-up and it's so nuanced and so much expression is happening. They were acting for that camera and for no one else.

The key to my work is that I stopped, physically, to observe something. I raised my camera and recorded my observations.

I get that same queasy, nervous, thrilling feeling every time I go to work. That's never worn off since I was 12 years-old with my dad's 8-millimeter movie camera.

My mind is in so many different places while we're shooting. Part of it is watching the performance, part of it is watching the camera, and part of it is thinking about the stuff that we have to get that day. It's always a pleasure watching, but you also take it for granted, when you're on the actual grind, making the show.

On my iPad, and I'm quite a fool for this, but I use Post-It notes to cover up the camera. It's just weird with that little eye there and sometimes it'll be green and I know I didn't turn it on. It's very spooky.

I have been doing this since I was nine years old. So whatever the role is, I am going to do the best I can do. The only thing I am concerned with is stepping on the stage in front of that camera and giving the best performance I know I can give, day in and day out as an actor.

One night I had an idea while I was at the movies: to photograph the film itself. I tried to imagine photographing an entire feature film with my camera. I could already picture the projection screen making itself visible as a white rectangle. In my imagination, this would appear as a glowing, white rectangle; it would come forward from the projection surface and illuminate the entire theater. This idea struck me as being very interesting, mysterious, and even religious.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.

I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.

As an actor, doing animation is definitely on the list of most actors because it is such a freeing, fun, different experience than being on camera. There's just something different about it that's not more fun, but a different sort of fun.

I grew up in music theater playing to the audience - singing and dancing and showing off. That's really my background. But the camera's different. I think I'm more at home on stage.

There's just such a premium on hurrying, and the camera is the be all and end all, and the actors had better hurry up and get it right and get it done.