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.

I love to just listen and watch. I could happily watch a security camera at a store. Often during a day I'll see a guy selling pretzels or an argument that somebody's having on a stoop and I'll think, "Oh I wish I had my camera, I wish I could capture this moment." There's something about people being people and interacting that can be so beautiful when it's framed by a camera. That desire to capture people as they are, and the stubbornness to keep going when they don't necessarily want you to capture them being who they are, are key.

I hate cameras. I hate cameras and I hate camera phones. The camera's my worst enemy and my best friend. It's the way I convey my emotions to the world without saying a word, so I use it. People always say, 'You come alive as soon as the camera's on!'

I'd like to use IMAX. The problem with IMAX is that it's a very loud camera. It's a very unreliable camera. Only so much film can be in the camera. You can't really do intimate scenes with it.

I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.

Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.

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."

I don't like people who are hypocritical, who pretend to be nice, particularly in show business when they're nice on camera, and then off camera they're absolutely appalling to the makeup people, or the waitress in a restaurant, you know? I don't like - I can't bear those kind of people. So I like people who are, you know, up front in your face.

You really feel like you're on the cutting edge and you know you are because all the camera equipment you take for granted doesn't exist for 3-D. So all the cranes with all the stabilized heads, they don't work on 3-D because they're all built for lightweight camera packages. As soon as you kind of put two cameras together and all the other crap that they need and the cabling to go back to the computers, we've literally, the cranes on these movies, they break after a couple of days.

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 found it liberating to sing on camera. On stage, you have to indicate having a thought, and the word you are singing must indicate it as well, but on camera, you can have ideas, you can take in all the stimuli that the character would be taking in, there's a freedom you get, and you don't have the obligation to transmit each idea to the back of the house. It felt so much closer to reality for me.

The camera is an instrument that teaches people how to see without a camera.

I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.

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.

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.

The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!

Alan Rickman was such a terrific actor, and that was such a terrific character that he played. And it was a joy to be with him. We used to laugh together because we ran out of reaction shots. They were always - when everything had been done and the children were finished, they would turn the camera around and we'd have to do various reaction shots of amazement or sadness and things. We used to say we'd got to about number 200-and-something and we'd run out of knowing what to do when the camera came around on us. But he was a joy.

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

At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.

I think I've spent more time in front of a camera than off camera. That's just the way it is.

I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.

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.

The camera’s not a camera, really. It’s an open door we need to walk through. It’s up to us to keep moving our feet.

I bought a camera with my first ever paycheck.

I don't stand behind the camera drooling. Knowing that, the models are more likely to open up and relax.

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.

One of my passions is photography. I always carry a camera in my bag whenever I travel. I always take pictures wherever I go, and some of them end up being really crazy ones.

I've been a soldier, I've been a bunch of little girls, all sorts of roles that I would not have been able to be with on camera context because I just don't look the part.

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.

Beyond the rudiments, it is up to the artist to create art, not the camera.

Off-camera, I sound like Perry Como.

I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

I love it, to have the same crew. I'm not married. I don't have children. My 17-year-old dog died. I'm kind of on my own. So I really like having the same camera guy for four years. I love looking around and seeing the hair and makeup people who have been there from the beginning.

If my friends are going to the mountains with guns to fight, I will continue that fight, not with guns but with a camera.

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

I don't like to move the camera that much anyway.

I like to be flexible in the way I take pictures. I do not use a tripod, and I move around in the crowd, of which I am myself part.... I try to preserve the dynamics of the street, and my way of using the camera tries to approximate as much as possible the way we see: focusing on details, opening up to wider angles, and composing all these very short, fragmented impressions into a larger mental picture.

I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.

A style is not a matter of camera angles or fancy footwork, it's an expression, an accurate expression of your particular opinion.

When the camera comes on, I am not Hayden any more, I am Lizzie!

The first picture of his I ever saw was during a lecture at the Rhyl camera club. I was 16 and the speaker was Emrys Jones. He projected the picture upside down. Deliberately, to disregard the subject matter to reveal the composition. It's a lesson I've never forgotten.

When it came to the on-camera TV stuff, I'd be standing next to the director, my friend, and he'd be asked a question that I should have been answering.

We worked six days a week [on the The Breakfast Club], so you have one day off. So on that Saturday night, it's not like we could all go out and have a drink because Molly [Ringwald ] and Michael [Hall] weren't old enough. And Ally [Sheedy] pretty much kept to herself. So Emilio and I, every Saturday night, would go into Chicago because we were shooting outside of Chicago in Des Plaines. It's so funny, because even though we might be adversaries in the film, we certainly weren't off-camera. He's a very funny guy.

As I set out to begin photographing Shanghai, I encountered the insider/outsider phenomena in the most personal of ways. You would walk into an old neighborhood in the center of city, and people would begin to point at you. People would begin to talk about you, spreading the word about the outsider who has wandered into their midst, look at him, he's got a camera, what's he doing, is this allowed, is this OK, how should be respond to him.

Very often people looking at my pictures say, 'You must have had to wait a long time to get that cloud just right (or that shadow, or the light).' As a matter of fact, I almost never wait, that is, unless I can see that the thing will be right in a few minutes. But if I must wait an hour for the shadow to move, or the light to change, or the cow to graze in the other direction, then I put up my camera and go on, knowing that I am likely to find three subjects just as good in the same hour.

I think the perception of me can be, you know, confused. But thats only because people only see that side of me when Im at work, in front of the camera. So they dont see Miranda at home; they dont see behind the scenes. They see the glamour of it all but they dont see Miranda standing barefoot in a dirty old house.

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