Cameras Quotes
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Sometimes I feel like . . . the world is a place I bought a ticket to. It’s a big show for me, as if it wouldn’t happen if I wasn’t there with a camera.
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We live in a bizarre world - there are cameras in our house!
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As a whole, I am interested in the symbolic, rather than the literal use of the camera.
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The megapixel war in conventional cameras has been a total myth. It's taking us all in the wrong direction. Once a picture goes online, you're throwing away 95 to 98 percent of those pixels.
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Just think how minimal somebody's family album is. But you start looking at one of them, and the word everybody will use is "charming." Something just happened. It's automatic, just operating a camera intelligently.
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I'm the most experienced cinematographer in this medium, so there's no point in having that extra conversation in the middle of the loop. You're making the film in relation to what's happening now, and you can't really affect what's happening now. It's not like you're in control of anything in front of the camera. If you're calling yourself the director and you're not the cinematographer, I think you're kidding yourself.
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The minute you point a camera at something, you are manipulating the image, because you are cropping out whatever is to the left and right of it. The minute you put a light on someone, you are manipulating the image.
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Cameras always were seductive. And then a darkroom became available, and that's when I stopped doing anything else.
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The instrument is not the camera but the photographer.
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From the beginning, the camera and I were great friends. It loves me, and I love it.
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I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
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M*A*S*H' was a collection of people, in front of and behind the cameras, that really clicked.
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I certainly think cameras ought to be in courtrooms.
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I am very suspicious of cameras and dramatic interpretations and the whole Hollywood myth-making process. I don't trust it. I've seen it affect people in bad ways.
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There are photographic fanatics, just as there are religious fanatics. They buy a so-called candid camera there is no such thing: it’s the photographer who has to be candid, not the camera.
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One of the best things - and something I'm grateful for every time I walk onto a film set - is my six and a half years on Dawson's Creek and the experience it afforded me in how to get comfortable with the camera.
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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.
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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.
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You're gonna have to learn to get out there in front of those cameras and hold your head up. Take charge when you're singing.
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I started in a research lab for TV cameras, then I worked at a tape duplication facility. That was the first introduction for me to recorded music and hi-fi.
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Lesson number one: Pay attention to the intrusion of the camera.
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Nothing attracts me like a closed door. I cannot let my camera rest until I have pried it open.
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To me, Elijah Wood is one of the best actors of my generation. He's so incredibly present and in the moment, when you're working with him, and then we just chat away about anything off camera because he's a lovely guy.
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In 1978 I decided not to work with Man Ray as an act of self-discipline. I didn't want to rely on him. Man Ray hated not working, though. He would come into my studio, see me drawing or working on photographs, and just slump down at my feet with a big sigh. Fortunately for both of us the year ended. Polaroid had invented a new camera, the twenty-by-twenty-four, and I was invited to Cambridge, Mass., to experiment with it. Naturally, I took Man Ray and we were working again.
