Camera Quotes
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Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
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Kodachrome, it gives us those nice bright colors Gives us the greens of summers Makes you think all the world's a sunny day, oh yeah! I got a Nikon camera, I love to take a photograph So momma, don't take my Kodachrome away.
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We're seniors." "I know," I said "So aren't you... curious?" "About what?" "About life. Out there. Life!" she said again. "Tell me, Cameron Ann Morgan, what do you want to be when you grow up?" We'd reached another door, and I stopped and looked up at the camera that monitored the entrance, just as I whispered, "Alive.
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I don’t have a philosophy. I have a camera.
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Any time you do opposing camera angles, there's gonna be some compromise in the lighting.
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There are a thousand ways to point a camera, but really only one.
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Documentaries are inherently instinctual; you're constantly moment to moment, determining what the best place for the camera is to tell the story, usually in service of natural lighting.
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The camera is more than a recorder, it's a microscope. It penetrates, it goes into people and you see their most private and concealed thoughts.
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Aging on camera is just very hard. I love my age. I feel good about myself but high definition television is not kind. You don't even look like yourself in high-def. It just makes every little line on your face more exaggerated so it ends up aging you. It's like you're watching yourself seven years older.
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The similarity between Van Gogh, Haiku poetry, and good photography is the concern for mortality. That things are very fleeting, that there are people who are more sensitive to death than others. The threat of time is of great concern to them. And the camera is a very appropriate instrument for many.
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Light-field photography is a transformational technology that needs a transformational product to introduce it. For the first time, we have a light-field camera that's going to be for everyone - not something in a huge room in a research facility.
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To live, to experience the world, to communicate with a camera, all these are interrelated and cannot be separated from everyday live.
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Why should not the camera artist break away from the worn out conventions... and claim the freedom of expression which any art must have to be alive
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One is not really a photographer until preoccupation with learning has been outgrown and the camera in his hands is an extension of himself. This is where creativity begins.
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I think a bigger difference with social media is going to be things like the impact Instagram will have for historians. For the longest time, we had no images of the past. And then when we had the advent of the camera, we had a record of the things people chose to photograph, which, for a while, were portraits of your family, a new building we built, or a really big horse. Well now we have images of everything. That will be the biggest difference I think - that we will have a visual record of this reality in a way that will be completely covered.
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Be gentle and tolerant. Intimacy will grow, but will take time and cannot be rushed. If all goes well, soon you will become more familiar with each other, and handling will forge awkward fumbling and fondling into more satisfying and productive caresses and eventually into a comfortable working partnership. At this stage you will be ready to accompany your new camera into the world.
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Before you shoot an irresistible subject, mute all your senses except sight to find out how much is left for the camera to record.
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I've been around Hollywood and filmmaking long enough to know that it's a tricky dangerous business when you go on camera, you got to watch yourself.
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I don't stand behind the camera drooling. Knowing that, the models are more likely to open up and relax.
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Stanley Kubrick was brilliant at getting under the audience's skin. He was very interested in the idea of, 'How can I tell this with just a camera?'
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I always thought acting was all lights, camera, action. It's a job; you have to do your job correctly.
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My parents offered me my first camera for my birthday and I developed an exclusive passion for it over the years. Since I was not the most social kid on the block, the camera helped me to express myself, invent my own language - something like a secret garden. I decided early on I would not write in a diary but take silent photographs instead.
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My first time acting for camera really was for Steven Spielberg in War Horse. I was trained in theater and I was actually working in theater at the time. I had a small role with the Royal Shakespeare Company, which is a huge prestigious theater company back in England. I honestly thought that was as good as it got.
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The film Wyatt Earp and the Holy Grail was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.
