Top 1200 Camera Lenses Quotes & Sayings - Page 4

Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.

Any child knows that history can only be a reduced representation of reality, but it must be a true one, not distorted by queer lenses.

The smartphone killed the traditional camera industry because it subsumed all the functions of a traditional camera.

On 'Handmaid's' you are given complete freedom - unlike some shows where you're really expected just to 'fold in' and 'deliver the script' and 'put the camera where we normally put the camera.'

Rather than being an interpreter, the scientist who embraces a new paradigm is like the man wearing inverting lenses.

You think the only thing looking at you is this steel thing, but behind the camera is this living, breathing person operating the camera whose job it is to watch you.

Now everyone's main objective of taking photographs is to have a photograph for Twitter or Facebook. I find that troubling. If you have an opportunity to meet the Dalai Lama, don't work out your camera or iPhone issues. Sit and a listen to what the man is saying, because nine times out of 10, you're not going to look at that photo. You're not going to look at the video. As a photographer, I don't carry a camera. I have my iPhone, but I don't carry a camera. I want to live.

A lot of people don't like to eat on camera, but I eat on camera all the time. I'm standing in for the viewer.

I don't take the camera out with me. My eyes are the camera for me every day.

I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera.

Shame works like the zoom lens on a camera. When we are feeling shame, the camera is zoomed in tight and all we see is our flawed selves, alone and struggling.(page 68)

I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.

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.

In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.

It is sometimes desirable to distort or accentuate with lenses of various focal lengths... Deliberate distortion may actually add to its reality.

It was a hobby I got into a long time ago, hacking cameras. I was able to make my own using different lenses.

I still enjoy acting. I love the moment in front of the camera, but it's all the other moments that I don't enjoy. The 'business' aspect of it, the gossip. I really dislike about 99% of what I do, but I like that 1% when I'm on camera.

A camera is a camera, a shot is a shot, how you tell the story is the main thing.

'Happy girls are the prettiest,' and to be in the camera frame makes me happy. I just want myself to keep working. I can be in front of the camera for 48 hours continuously without any breaks.

If a bout of "creepy face" sets in, the trick is to look away from the camera between shots and turn back only when necessary. This also limits how much of your soul the camera can steal.

I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.

I think it's probably safe to say that continuing our onscreen relationship in front of the camera is probably not happening. I expect Adam may well pursue things in front of the camera, but I'm most likely not. It's not who I am.

The camera for an artist is just another tool. It is no more mechanical than a violin if you analyze it. Beyond the rudiments, it is up to the artist to create art, not the camera.

I'm really into both sides of the industry - in front of the camera and behind the camera. I love the business side of it; I love all of the contracts and negotiating and the different connections that you can make.

I first faced the camera without even knowing there was a camera. I was in class 6 in Surat. It was a 'nritya-natika' covered by DD National and aired on DD Gujarati.

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.

It was extremely useful to grow up in front of the camera. It gives the camera no significance. I think it helped me have perspective on things. The attraction that Hollywood can have, I feel like I'm over that. Instead I just concentrate on acting.

Anyone who looks for life can find it... and they don't need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can't be a Nice Nelly and take news pictures.

I've never acted, but I'm an entertainer. So I kind of used what I know from being onstage. I've done a thousand and two interviews, and I've been on camera a million times, so I'm not uncomfortable on camera, but it was interesting for me to be someone else.

We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.

The youthful sparkle in Ronald Reagan's eyes is caused by his contact lenses, which he keeps highly polished.

When I write, I feel like an optometrist, constantly flipping between lenses and asking, 'Is this better? Is this?' Slowly, the work comes into focus.

'Hollyoaks' is where I learnt a lot of the craft, being in front of a camera six days a week. That's certainly an experience you don't get in drama school. It invites you to be comfortable in front of the camera.

Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.

I've picked a camera up a few times. I remember buying my first camera when I was about 18 and really going wild with it, as you do as an 18-year-old, especially when you're in college.

I had done some stuff on camera, then I did some film dubbing when I lived in Europe. When I came back, I'd considered doing on-camera work again, but I didn't really like it.

I would like to see more films being made with people of color behind the camera and in front of the camera, because the more times at bat we have, the better we get.

With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.

The photogram, image formation outside the camera is the real key to photography,it embodies the essence... that allows us to capture light on light sensitive material without the use of any camera.

I did have a very advanced grandmother, my mother's mother, who wanted to buy me a camera. My parents wouldn't let her. Eventually she won, and I got a camera in about 1948, a Voigtlander.

Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.

Do not be afraid of mistakes. They will be with you always,every time you put a camera to your eye. [If you] shoot safe, and don't at least occasionally court disaster, you are not trying. Time to hang up the camera.

I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.

Ever since the invention of the camera, people have been trying to create 3D, because we see things in 3D, and everyone's aware that the camera doesn't.

I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.

We need to have more conversations about representation as well as the imbalance in terms of needing more women behind the camera and in front of the camera, and the diversity factor.

No one was jumping up and saying, 'Yeah, let me give you money.' I had never held a camera in my hand - a home video camera, nothing. I had not directed.

It's the best, it's so weird because, having your camera on constantly is known to be such a bad thing because it's like, 'Live in the moment,' but we genuinely have so much fun when we turn the camera on.

And as an actor, just working with someone as seasoned and professional and kind as Richard Jenkins, it's always a learning experience watching him - on camera and off camera, just soaking it all up.

Just having the camera, being able to pull back from situations and be an observer, it saved my life... I realised I could find these intimate moments and that people trusted me. That, basically, my camera was magic.

Both those taking snaps and documentary photographers... have not understood information. What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.

It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.

Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.

I can't stress enough how unimportant the camera really is. Any brand of camera will do. For 95% of my shots, the lowest end DSLR will be just fine.

A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.

I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.

I started in documentaries. I started alone with a camera. Alone. Totally alone. Shooting, editing short documentaries for a French-Canadian part of CBC. So to deal with the camera alone, to approach reality alone, meant so much. I made a few dozen small documentaries, and that was the birth of a way to approach reality with a camera.

I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.

I batted with contact lenses in the IPL while playing for Delhi Daredevils. I wasn't picking the ball early. So I went back to the glasses.

When you choose not to forgive... it is you who are forced every day to look at life through contaminated lenses because you have chosen to keep them.