Top 87 Shutter Quotes & Sayings - Page 2

...and each time I pressed the shutter release it was a shouted condemnation hurled with the hope that the picture might survive through the years, with the hope that they might echo through the minds of men in the future - causing them caution and remembrance and realization.

Philologically, the word Kodak is as meaningless as a child's first goo. Terse, abrupt to the point of rudeness, literally bitten off by firm and unyielding consonants at both ends, it snaps like a camera shutter in your face. What more would one ask. (Explaining why he named his company Kodak.)

When you see such photos, you can't help but wonder at just how sweet and sad and innocent all moments of life are rendered by the tripping of a camera's shutter, for at that point the future is still unknown and has yet to hurt us, and also for that brief moment, our poses are accepted as honest.

Since 1873, I have been back four or five times. I have used the best cameras and the most sensitive emulsions on the market. I have snapped my shutter, morning, noon and afternoon. I have never come close to matching those first plates. (On photographing The Mountain of the Holy Cross)

When I walk with a camera, I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment's light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.

Photography is a medium of formidable contradictions. It is both ridiculously easy and almost impossibly difficult. It is easy because its technical rudiments can readily be mastered by anyonwith a few simple instructions. It is difficult because, while while the artist working in any other medium begins with a blank surface and gradually brings his conception into being, the photographer is the only imagemaker who begins with the picture completed. His emotions, his knowledge, and his native talent are brought into focus and fixed beyond recall the moment the shutter of his camera has closed.

To be sure the landscape can't run away, and yet I always fear that it may. [Sometimes] I must set up my tripod, so I worry that the landscape may disappear the next second and I don't stop keeping an eye on it while I get prepared. Then, when pressing the shutter, I hold my breath. These moments are the greatest joys in my life, as if I were undressing the most beautiful woman in the world - that is, if she will allow herself be undressed. If the photo is a success, it means that she was willing. If not, it has been a lovely dream.

The gift list is thinking upon His goodness – and this, this pleases Him most! And most profits my own soul and I am beginning, only beginning, to know it. If clinging to His goodness is the highest form of prayer, then this seeing His goodness with a pen, with a shutter, with a word of thanks, these really are the most sacred acts conceivable. The ones anyone can conceive, anywhere, in the midst of anything. Eucharisteo takes us into His love.

You must photograph where you are involved; where you are overwhelmed by what you see before you; where you hold your breath while releasing the shutter, not because you are afraid of jarring the camera, but because you are seeing with your guts wide open to the sweet pain of an image that is part of your life.

As soon as I look up, his eyes click onto my face. The breath whooshes out of my body and everything freezes for a second, as though I’m looking at him through my camera lens, zoomed in all the way, the world pausing for that tiny span of time between the opening and closing of the shutter.

Images flicker, each one bringing its own sorrow or its own smile. Sometimes both. At the very worst, an impenetrable and sightless black and at best, a happiness so bright that it hurts the eyes to see, coming and going on some unseen projector perpetually turned by an invisible hand. One, then another. The hollow click of the shutter. Now stop. Freeze this frame. Pluck it down and hold it close and be damned by what you see. Henri always said: the price of a memory is the memory if the sorrow it brings.

Photographs are like our children. We put the best of ourselves into them - the best of our vision, our minds, our hearts - and then we send them out into the world. At some moment, perhaps the moment we click the shutter, they are being released. From that moment on, they don't really belong to us anymore.

One view of photography is that it is a zen-like act which captures reality with its pants down - so that the vital click shows the anatomy bare. In this, the photographer is invisible but essential. A computer releasing the shutter would always miss the special moment that the human sensibility can register. For this work, the photographer's instinct is his aid, his personality a hindrance.

Photography is much more about elimination than inclusion. The images we make with a lens typically eliminate ninety percent of our field of view and everything that is out of our field of view. The shutter slices time, eliminating all moments before and after it opens and closes. Three dimensions are reduced to two. And in some cases color is removed. How can we call these kinds of artifacts unaltered?

Legalized drugs would cause dislocations in the US economy - the prison industry for example and tens of billions spent annually on drug enforcement. But because the US economy is so large, this would be a minor blow, hardly as severe as the ultimate nightmare for the US economy, global peace, which would shutter its death industry commonly called the military/industrial complex.

I don't know the technology of digital cameras but apparently the shutter speed is so fast, and so high a resolution, that they are capturing these orbs whenever people are bringing in a lot of angel energy. They just want us to know that they have got our backs, that we're not alone there, that our prayers are heard, and they are helping us.

I start with no preconceived idea - discovery excites me to focus - then rediscovery through the lens - final form of presentation seen on ground glass, the finished print previsioned completely in every detail of texture, movement, proportion, before exposure - the shutter's release automatically and finally fixes my conception, allowing no after manipulation - the ultimate end, the print, is but a duplication of all that I saw and felt through my camera.

The decision as to when to photograph, the actual click of the shutter, is partly controlled from the outside, by the flow of life, but it also comes from the mind and the heart of the artist. The photograph is his vision of the world and expresses, however subtly, his values and convictions.

When the photographer Philippe Halsman said, 'Jump,' no one asked how high. People simply pushed off or leapt up to the extent that physical ability and personal decorum allowed. In that airborne instant Mr. Halsman clicked the shutter. He called his method jumpology. The idea of having people jump for the camera can seem like a gimmick, but it is telling that jumpology shares a few syllables with psychology. As Halsman, who died in 1979, said, 'When you ask a person to jump, his attention is mostly directed toward the act of jumping, and the mask falls, so that the real person appears.'

Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.

He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.

The surface of the quieted river, as I think now, is like a window looking into another world that is like this one except that it is quiet. Its quietness makes it seem perfect. The ripples are like the slates of a blind of a shutter through which we see imperfectly what is perfect. Though that other world can be seen only momentarily, it looks everlasting. As the ripples become more agitated, the window darkens and the other world is hidden.the surface of the river is like a living soul, which is easy to disturb, is often disturbed, but, growing calm, shows what it was, is, and will be.

I learned quickly enough when to click the shutter, but what I was becoming aware of more slowly was a story-writer's truth: The thing to wait on, to reach for, is the moment in which people reveal themselves... I learned from my own pictures, one by one, and had to; for I think we are the breakers of our own hearts.

Movies used to be called the 'flicks' because they flickered badly: because 16 or 18 frames a second - which was those hand cranked movies on a single-bladed shutter - was really badly flickering.

How it pours, pours, pours, In a never-ending sheet! How it drives beneath the doors! How it soaks the passer's feet! How it rattles on the shutter! How it rumples up the lawn! How 'twill sigh, and moan, and mutter, From darkness until dawn.

The iPhone always has a different look from model to model - 'Tangerine' is quite smooth, but that was the 5s. I was using the iPhone 6s Plus for 'The Florida Project,' and it has what's called a rolling shutter, and it gave it this hyperactivity and a very different, jarring feel, and we liked that.

When hopes and dreams are loose in the streets, it is well for the timid to lock doors, shutter windows and lie low until the wrath has passed. For there is often a monstrous incongruity between the hopes, however noble and tender, and the action which follows them. It is as if ivied maidens and garlanded youths were to herald the four horsemen of the apocalypse .