A Quote by Henry Rollins
I want my fellow citizens to wise up and stop falling for [war]. I try with my limited access, I'm not getting into Kabul with a camera, they're not letting me get into Benghazi with a camera. I do what I can with my flimsy American passport and a visa. The photos are a bit more heavy from Southern Sudan and Haiti and Cuba.
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Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.
When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.
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.
The reality is, because of access to film, you don't have a lot of black people who want to go behind the camera. We raise our children to want to be in front of the camera and shine, and that's on us.
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.
The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.
The terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.
I take my camera pretty much everywhere and try to get the most diverse photos possible, since I get to travel to all the greatest cities in the country and see iconic architecture and things like that. I also like racing photos - like motorcycles, cars, stuff like that.
My manager and fellow YouTuber, Mike Lamond, encouraged me to start a YouTube channel as a way to practice speaking, entertaining, and being more comfortable in front of a camera. In the beginning, I used an $80 dollar flip-camera and edited every episode myself.
I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.
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.
I've seen people 'turn up' for the camera, thinking that this is the best way to maximize their platform and get more camera time. This formula works, but it's shortsighted.
Whenever I am in front of the camera, my hair goes through a lot of harsh styling. But I ensure that my off-camera time is all about letting my hair down, taking it easy and, of course, letting my hair breathe!
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.
I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.
People have been reading photography as a true document, at the same time they are now getting suspicious. I am basically an honest person, so I let the camera capture whatever it captures whether you believe it or not is up to you; it’s not my responsibility, blame my camera, not me.
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