A Quote by Ren Ng

We have seen amazing, creative and interactive pictures from camera owners, and I'm looking forward to the Lytro camera being available in Australia. — © Ren Ng
We have seen amazing, creative and interactive pictures from camera owners, and I'm looking forward to the Lytro camera being available in Australia.
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.
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.
I don't click pictures. People carry a camera with them while travelling, take pictures, keep them as memories, but I don't. I don't even have a camera.
This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.
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.
The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.
For me, the brand of the camera is not the most important thing. I think you can take good pictures with the camera on your phone.
I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.
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.
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.
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.
Everywhere we walked we got plenty of attention due to the camera and sound men. The locals love to get on camera. [...] I'd seen footage of Gandhi surrounded like this and always thought it was because he was very popular, but now I wonder if it was just because he had a camera crew with him.
I just enjoy what I do - looking forward to going on a film set, being in front of the camera, interacting with many people. I'm fortunate to be living my dream.
Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are.
My creative process begins when I get out with the camera and interact with the world. A camera is truly a license to explore. There are no uninteresting things. There are just uninterested people.
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.
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