Top 1200 Camera Angles Quotes & Sayings - Page 7

He owned an expensive camera that required thought before you pressed the shutter, and I quickly became his favorite subject, round-faced, missing teeth, my thick bangs in need of a trim. They are still the pictures of myself I like best, for they convey that confidence of youth I no longer possess, especially in front of a camera.

The fruit flies we work with have the equivalent of about a 25 by 25 pixel camera. But that camera is very, very fast, about 10 times faster than the human visual system.

I could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.

Before the camera, you only had secondhand takes - someone had to tell you what they saw or draw a picture of it or sing a song. Because of the camera, sometimes to our horror, we now know everything that happens in the world - things that before we were sheltered from.

I can remember the moment when I suddenly felt that the camera was a living partner. I suddenly felt this is art, and the camera is a co-operative living person. After that I was extremely happy to act in films.

The wonderful thing is that Clive [Oppenheimer ] insisted on training his camera - his private camera - on me at one point. We were discussing things such as how to avoid certain dangers, while reflecting on a volcano that had threatened to explode 40 years ago.

This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.

Be a student, not a follower. Take interest in what someone says, then debate it, ponder it, and consider it from all angles.

A camera alone does not make a picture. To make a picture you need a camera, a photographer and above all a subject. It is the subject that determines the interest of the photograph.

I think I've found a purpose in acting; it's something I truly love and truly enjoy. It makes me happy. It makes me understand more about life, in front of the camera, than what I'm living beyond the camera.

If you move in and out, throw shots and use angles and the guy's feet are planted, you look a lot better.

Right angles don't attract me. Nor straight, hard and inflexible lines created by man.

I really want to try to explore the characters from angles you've never seen and keep them classic and iconic.

I remember, when I was a little kid playing with the 25 Legos I had, I thought, 'If I just had a camera, I could film different setups and make it look like I have way more Legos and tell a story.' I didn't get a camera, though, until I basically got an iPhone.

Screen work always boils down to that moment between the camera and the actor or the actors. It always boils down to that, ultimately. You serve the camera.

I like the ending of the movie [War Horse], simply because it's such a demanding scene emotionally, and yet [the look] is all done on camera. I like the work not to be manipulated digitally. And it's all done on camera [in that scene].

When I come in throwing shots from different angles and with both hands, I've been knocking people clean out.

Technology has grown so much that there's a whole idea of gluttony. Sometimes you get carried away because you can have a camera go through the window, but do I need a camera go through the window? Those choices are up to the director.

The Trump Administration is working from all angles to bring jobs back to our country by making it a better place to do business.

It took two years of me telling Canon engineers that a camera is a thing between the human hand and the human eye, so it had to have ergonomics on both sides! They got the message, and we did it, and overnight it was the camera of the world. Everyone - Nikon, Yashica, Sony - all copied Colani.

You should never use the camera to make your pictures. You use yourself, your experience to make the picture with the camera. Not the other way around.

whether they'll write the story of my life as a tragedy or an epic fantasy... I was wondering if it was going to be a kiss at the end, or sad music and a sweeping camera shot over the fields I once roamed freely. I'm hoping for the kiss, but expecting the sweeping camera shot.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be.

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!

I'm fond of implied narratives, oblique angles, and leaving a little room for the viewer to finish a picture.

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.

In films people basically work for the camera, you know, and that's why actors can hate each other and not be speaking to each other and still look as if they're in love because really they're loving the camera loving them.

Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.

Editing can alter the original meaning and context, and computers can alter the image itself. The camera can also be manipulated. At the very least, it must be turned in one direction - only one direction at a time ... Who chooses what direction to point the camera, and why?

Camera companies, like traditional phone manufacturers, dismissed the iPhone as a toy when it launched in 2007. Nokia thought that the iPhone used inferior technology; the camera makers thought that it took lousy pictures. Neither thought that they had anything to worry about.

I do films to be behind the camera, not in front of the camera. I'm sure I say very intimate things about myself in all my films, but it's better to say it not too directly, to be hidden behind a woman.

I got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.

I feel like all the songs are little scenes, different angles, of the feelings that come around something ending.

My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.

There's always been a shortage of roles for three-dimensional women, no matter what age. If you look at the statistics on women in film, be they behind the camera or in front of the camera, and it's pretty nauseous-making. It always has been.

Once in a while, I need to go out of my way to do different films, to exploit all commercial angles to cater to the masses.

I always try to look at conflicts from as many different angles as is humanly possible, and in a lot of ways there is no one answer.

Abolitionists were men of sharp angles. Organizing them was like binding crooked sticks in a bundle.

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.

You may admire a girl's curves on the first introduction, but the second meeting shows up new angles.

What some highbrows call rapport is nothing more than a mild flirtation between photographer and the girl on the other side of the camera. Some models get so professional they can send hours flirting with the camera itself while the poor photographer is reduced to the role of spectator.

I've been wanting to do some type of video about the idea that YouTubers have to have some kind of personality disorder, something right, to do what we do. Putting ourselves on camera all the time, being so open on camera all the time, having conventions with our name in it. There has to be something.

Hard to find anything lovelier than a tree. They grow at right angles to a tangent of the nominal sphere of the Earth.

The weird thing with 'Kismet' is that Vincente Minnelli didn't know what to do with a Cinemascope camera for that film - so he never moved it! It's like in the old days when sound first came in and was so complicated that the camera just sat there. There are hardly any close-ups in 'Kismet,' so everything's at a bit of a distance.

The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.

I like to train the body from as many different angles as possible to use every modality available to do it.

The camera lens or the television camera is still just a proscenium arch. And as a great old character actor once said to me, wherever you're acting, you reach up and take hold of the proscenium arch, and you pull it down around your shoulders.

To shoot a decent fight, you need to cover all the different angles, and it ends up eating a lot of days.

I think I did a couple of test commercials that didn't even make it on the air. That's how little I had really done. I knew almost nothing about the camera. In fact, I actually did know nothing about the camera.

People were murdered for the camera; and some photographers and a television camera crew departed without taking a picture in the hope that in the absence of cameramen acts might not be committed. Others felt that the mob was beyond appeal to mercy. They stayed and won Pulitzer Prizes. Were they right?

Alan Funt was the first hidden-camera magician. It was the playful nature of the way he worked that really inspired me. A lot of prank shows and hidden-camera shows can be a little mean-spirited. Funt was never like that.

I'm trying not to focus on the height of my opponent, just to play my tennis and to open the angles because it's the most important.

I like working on one - camera. This is not false modesty, but I don't think I'm very good at three - camera. And it's not that I'm nervous, but I just sort of feel like my collar is too small, or my clothes don't fit. I don't understand what that is. And I don't understand the format: There's an audience in front of you that you're playing to, but there are also these cameras.

I don't need a coach to tell me what to say. I need a coach to figure out what kind of shirt to wear and how to look at the camera and how to avoid, you know, picking your nose on camera.

I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people's most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.

When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.

I hate it when you are watching a movie where the characters are on the news, and for some reason they shoot it with a 35mm camera or a 4K camera, and they just put it on the TV as if that's the way it would look - it always takes me out of it by putting a filter on certain things. If it's too high quality, you're never gonna buy it.

My biggest challenges when I first started out were not having a computer or camera or Wi-Fi! The computer and the camera had to be borrowed, and there were times that I used the computer at the library, and I literally sat outside people's houses to steal their Internet connections.

The way NXT has been from day one when I was asked to do it, 'Don't put me on camera. I do not need to be on camera unless it's absolutely necessary. This isn't about me, it's about the talent,' and everyone that works in NXT, that's what we think.

If I'm traveling, I'll take a film camera and a digital camera because sometimes there are moments where, if you've lost it, or if coming back and it accidentally goes through the X-ray machine and it gets overexposed, you might have had a really important moment to you and you would be really upset that you didn't have a back-up.