Top 1200 Camera Angles Quotes & Sayings

The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.

Pool, it became clear to me, is all about angles. First, there are simple angles, as you must hit the cue ball to either side when you are not straight on.

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

I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.

That, if a straight line falling on two straight lines makes the interior angles on the same side less than two right angles, the two straight lines, if produced indefinitely, meet on that side on which the angles are less than two right angles.

You can understand the integrity of the filmmaker from his camera angles. You can't hide anything from it.

The interesting thing about my career is for years I was trying to do that thing of getting in shape and looking cool - I would look at myself in camera angles and think how my chin looked the best and all this stuff. And I really couldn't get that much work.

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.

Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

Wildlife film-makers I know tell me that the effort to portray what looks like an untouched ecosystem becomes harder every year. They have to choose their camera angles ever more carefully to exclude the evidence of destruction, travel further to find the Edens they depict.

Though we cannot SEE angles, we can INFER them, and this with great precision. Our sense of touch, stimulated by necessity, and developed by long training, enables us to distinguish angles far more accurately than your sense of sight, when unaided by a rule or measure of angles.

There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.

What, then, is light according to the electromagnetic theory? It consists of alternate and opposite rapidly recurring transverse magnetic disturbances, accompanied with electric displacements, the direction of the electric displacement being at the right angles to the magnetic disturbance, and both at right angles to the direction of the ray.

I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.

In my head, scenes are shot from certain angles; there are camera pans, all of that kind of stuff. Converting those visuals to comic format was mostly a matter of adapting them to the rhythm of paneling.

It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.

When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.

The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.

I don't need interesting camera angles, I am interesting.

In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.

Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.

It's fun to watch a true-blue movie star at work. They're really unbelievably charismatic. They understand camera angles.

Visual artists use drones to capture beautiful new images and camera angles.

Vulgar lyrics and suggestive, voyeuristic camera angles do not celebrate a woman's sexuality, they actually objectify her.

You've gotta understand camera angles, camera movement - a kick that may not be very powerful may look very powerful from a certain angle.

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.

As with instant replay, NFL Films' use of slow motion, camera angles and the narration of Facenda was not just a technical breakthrough but a conceptual breakthrough.

My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.

There are different angles you have to work with as a hitter. Figuring out with my body what helps me get into those angles... is a constant discovery.

A lot of these angles are really about trying to mimic broadcast sports angles in order to anchor the scene, to sort of normalize it before it becomes abstracted.

When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.

I am a creative person and watching a movie is like writing a story. So when I see a movie, I also see the editing, the music, the camera angles, etc.

Kissing onscreen is very awkward because you have to worry about angles and you have to worry about where the camera is and you have to remember where your head was in this moment.

If you watch fights cage-side, sometimes different punches look better than others. It's like camera angles. Sometimes some punches look a lot better than they were, and sometimes a solid punch doesn't look good. So it just depends on your angle.

You have more time to work in movies. My experience with movies is that you have more time to experiment with the character and camera angles and things like that.

Balance of light is the problem, not the amount. Balance between shadows and highlights determines where the emphasis goes in the picture...make sure the major light in a picture falls at right angles to the camera.

Alisson is undoubtedly one of the best goalkeepers in the world and he deserves to be put on that pedestal. Him and Manuel Neuer are probably the best two when it comes to angles - those two are the very best in the world at getting their angles right, they don't have to dive because they aren't out of position.

I feel like if you flip through my Instagram, you'll kind of see the same angles and poses every time. That's the trick to having people love your Instagram selfies. It's all about your angles.

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 have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.

The camera is one of the most frightening of modern weapons, particularly to people who have been in warfare, who have been bombed and shelled for at the back of a bombing run is invariably a photograph. In the back of ruined towns, and cities, and factories, there is aerial mapping, or spy mapping, usually with a camera. Therefore the camera is a feared instrument, and a man with a camera is suspected and watched wherever he goes... In the minds of most people today the camera is the forerunner of destruction, and it is suspected, and rightly so.

Pictures are much harder to do than the theater... You're at the mercy of the camera angles and the piecemeal technique.

TV helped me understand camera angles, close-ups, master shots.

'Heyy Babyy' needed fast cutting and eye contact. It didn't need fancy camera angles.

The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.

People talk about skating, puck handling and shooting, but the whole sport is angles and caroms, forgetting the straight direction the puck is going, calculating where it will be directed, factoring in all the interruptions. Basically, my whole game is angles.

Climbing a big wall over several days is like running a giant construction project: constantly making lists, rigging ropes, organising food, figuring out camera angles - but you're in this crazy place with your best friends, and it does take on a party atmosphere sometimes, like a big dudes' camping trip.

As far as lighting and blocking, camera angles and facial expressions, all that stuff that has to be very specific in film, as opposed to in wrestling where everything is larger than life and you're performing to the masses.

Kissing scenes are never romantic or sexy, they're actually super technical, like, "Move your head, you're blocking her light," or, "Stop looking like an idiot when you kiss her." You do it again and again because of the camera angles and takes and whatnot. So by the end of it, it's not even kissing. All the anything is totally drained out of it.

Tennis is a game of angles. You never have time to figure the angles. It's practiced. It's so practiced that it becomes an instinct. You just know where to put the ball. You just feel it. It has been computed into your brain so many times ­ it is there.

I worked on 'Sarah Connor' even longer than 'Firefly.' And I always remembered how generous everyone was to me when I didn't know what to do, and I didn't know the rules, and I didn't know camera angles, and I didn't know lighting.

My parents used to talk about Sergio Leone films a lot. And I got really into them. I love Clint Eastwood. I love the camera angles. I love the music.

I like pointing the camera at the actors and letting them fight. Don't let the camera do the fighting for you, and don't let the camera give them the adrenaline hit. Let the people in the frame do that.

You don't rehearse jazz to death to get the camera angles.

Doing the soaps, every day it's constant training. Dealing with camera angles, the other people - it's great training.

It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.

I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.

The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.