A Quote by Helen Sharman

I operated a periscopic TV camera so the commander, Anatoly Artsebarsky, could establish where we were heading. It is real teamwork on Soyuz. — © Helen Sharman
I operated a periscopic TV camera so the commander, Anatoly Artsebarsky, could establish where we were heading. It is real teamwork on Soyuz.
Commander! Sir! Wake up!" Jack surfaced from sleep, wondering who the commander was and wishing he'd respond so he could go back to sleep - until he remembered that he was the commander.
Real pirates were better than in movies, more daring and terrifying and cunning than any screenwriter could imagine. They operated during the Golden Age of Piracy, from 1650 to 1720.
My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture.
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.
My dad gave my brother and I a camera to film our football games when we were 10 years old so we could see how we could get better. Then one day, we decided to pick up the camera and film whatever we were doing.
The Progress is launched from Baikonur in Kazakhstan, just like the Soyuz. It almost looks the same as the Soyuz but unmanned, so, essentially filled up with supplies for us - anything from food, science experiments, repair parts, etc., can go in it.
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.
Tracy and I were pretty good friends before '30 Rock.' The chemistry you see on camera - that's what it is. What you see on camera - that's just friends, so that's why it comes across so well on TV.
I knew from a very early age, that what I saw on tv had nothing to do with real life. So I wanted to make a record of real life. That included having a camera with me at all times.
My favourite sport at school was rugby. All sports are teamwork, but rugby particularly is about teamwork and I think teamwork is the essence of this.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
I thought that the Bulls were an undermanaged, under-operated team and that it could be a very successful franchise if run properly.
Andy was not a director and not a writer. He operated the camera a little bit, and he wasn't even so good at that.
The space station mission was kind of the culmination of all of my experience of being a NASA Astronaut, so it had brought all of my previous experience into play. I had to learn the Russian language to a fluent level so that I could function as the co-pilot of the Soyuz Spacecraft that we flew up and back from the space station. And then the challenge of being the Commander of the whole expedition, a six and a-half month flight aboard the international space station. I felt the burden of the whole mission on my shoulders, which was fine, and fortunately everything did go well.
When you're on film or TV, essentially you're in front of the camera. Unless it's a Tim Burton thing, the desire is to be real and grounded.
This is how you can tell a real photographer: mostly, a real photographer does not say 'I wish I had my camera on me right now'. Instead a real photographer pulls out her camera and takes the photograph.
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