A Quote by Marty Stuart
I have a low-tech camera with one lens that I've shot everything in my life on. My subjects and my subject matter sometimes really are powerful, and so my job is to get it into focus.
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Focus. Focus. Focus...on your burning priorities. Say no to everything else. Life's short. You only get one shot at great.
It's just a matter of who you are and how you talk to people. Your subjects will trust you only if you're confident about what you're doing. It really bothers me when photographers first approach a subject without a camera, try to establish a personal relationship, and only then get out their cameras. It's deceptive. I think you should just show up with a camera, to make your intentions clear. People will either accept you or they won't.
I lot of the show's I do are low tech. This is low tech. There's a bit of high adventure here. There's difficult emotional choices. So actually this feels like a natural progression of everything I've been doing before this.
In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
Sometimes this high-tech world calls for low-tech solutions.
When a regular camera focuses physically, what the regular camera is doing is adjusting the lens relative to the sensor to bring different parts of the scene into focus.
I'm not that powerful but it's great that I'm allowed to do my job and talk about my life as a disabled person and hopefully sometimes people will laugh at that - sometimes they learn from that and if I do my job really well they laugh and they learn.
Our obsessive focus on college schooling has blinded us to basic truths. College is a place, not a magic formula. It matters what subjects students study, and subsidies should focus on the subjects that matter the most - not to the students, but to everyone else.
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.
Some actors, and especially the younger actors, they come into the job with a lot of attention on how they behave and everything when they're not working. Sometimes that can be unfortunate because the work call is pretty intense and the preparation for it. If your focus is there, then the actual doing of the job will be fun and enjoyable. But if you're so involved in trying to be interesting and a character and everything when you're not working, it can get in the way and people get goofed up.
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 encourage playfulness and experimentation with both the camera and subject matter. Sometimes there is an obvious perspective, but it is important never to be satisfied with that.
It's a hard job to get the camera to see it like you see it. Sometimes you have it just the way you want it, and then you look in the camera and you don't have the balance. The main thing is to get the camera to see it the way you see it.
The difference in 'seeing' between the eye and the lens should make it obvious that a photographer who merely points his camera at an appealing subject and expects to get an appealing picture in return, may be headed for a disappointment.
When you see what you express through photography, you realize all the things that can no longer be the objectives of painting. Why should an artist persist in treating subjects that can be established so clearly with the lens of a camera?
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