A Quote by Alexandra C. Pelosi
I used to be a kid with a camera, and that used to be kind of endearing to people. Now I'm sort of an old lady with a camera.
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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.
When I was younger, me and my brother got a video camera, and he used to direct and I used to act. We used to make these silly, stupid short films, which, looking back now, were probably horrible.
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.
Five years ago, we came to the realization that the camera can be used for more than capturing memories. We showed it can be used for talking. The dream for us is expanding the camera and what it can do for your life. It has capabilities beyond making memories.
I've never acted, but I'm an entertainer. So I kind of used what I know from being onstage. I've done a thousand and two interviews, and I've been on camera a million times, so I'm not uncomfortable on camera, but it was interesting for me to be someone else.
I used to make short films even as a kid. I used to have a camera and play around with it. So, I was always interested in the process and telling stories. I've always wanted to direct.
I'm used to having a camera in my face but not a camera following me.
There's a certain way people are used to seeing nude women, and that's in a submissive, coy pose, not looking at the camera. And in this poster, I'm looking dead into the camera with no expression on my face. I think it freaks a lot of people out.
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.
A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that.
When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.
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.
When I was a kid, my mother used to film all of our holidays and all of the good times, and I kind of associated the camera with everything being okay and everything being happy.
If I want a small take-everywhere camera, I prefer my iPhone 5, which has colors and tonal range superior to any DSLR or compact digital camera I've ever used at their default settings.
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.
My earliest memory as a kid was when I was about six, my dad used to take me and our Labrador Glen for a walk. We used to take a wind up camera and go searching for crop circles. We'd make little notes and I'd take photos of the circles.
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