Top 1200 Camera Obscura Quotes & Sayings - Page 4

How I wished I'd have had a camera of my own, a mad mental camera that could register pictorial shots, of the photographic artist himself prowling about for his ultimate shot - an epic in itself. (On the road with Robert Frank, 1958)

Multi-camera's fun because you have the immediacy of the audience and just being able to tell the story more or less straight through. The thing I like about single-camera is that you have the luxury of shooting a lot of different options.

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.

If a person is in front of a camera, they're acting. It's not possible to live in front of a camera.

If I had to give advice to other photographers, I would first suggest quickly getting over the camera equipment questions. In my humble opinion, the make and format of a camera is ultimately low on the priority scale when it comes to making pictures.

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.

People just like to be on camera. There's a huge desire to be in front of the camera, and once there, people will say and do almost anything. It's sort of a drug, and I think people get addicted to it.

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.

Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.

In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.

In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.

'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.

The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!

At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.

For me, being a complete artist means not necessarily just being in front of the camera, but being behind the camera or being the originator or creator of something.

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.

Now I know what it feels to be a working mother - it's a mixed feeling. A part of me wants to face the camera, the other wants to stay with my son. But I am sure when the camera rolls, I'll forget everything else.

Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.

The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.

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.

Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture.

After you play husband and wife on camera multiple times, it becomes easy to be husband and wife off camera as well.

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.

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.

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.

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.

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.

I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.

The camera can be a machine gun, a warm kiss, a sketchbook. Shooting a camera is like saying, Yes, yes, yes. There is no maybe. All the maybes should go in the trash.

I bought my first camera to photograph my brother's children. I learned a lot from that experience. The value of innocence and of not being focused on yourself, and I have to say that these things have remained with me to this day. I can immediately feel when someone is putting on a camera face.

When you've worked as long as I have, which I'm truly grateful for, you go in and out of these different environments. Sometimes it's not so much fun or easy or healthy. Sometimes you're fighting a lot of things off-camera that have nothing to do with the work on-camera.

When I first started, I would go to Weist-Barron, and I studied with Rita Litton and ACTeen. For teenagers, it's a really, really great school. We did a lot of on-camera stuff, so you see yourself and what you do on camera.

With photography, everything is in the eye and these days I feel young photographers are missing the point a bit. People always ask about cameras but it doesn't matter what camera you have. You can have the most modern camera in the world but if you don't have an eye, the camera is worthless. Young people know more about modern cameras and lighting than I do. When I started out in photography I didn't own an exposure meter - I couldn't , they didn't exist! I had to guess.

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.

A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that.

I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.

I really enjoy being behind the camera. A ton of projects I've done that are my most favorite projects would be where I actually executive produce and I'm behind the camera.

A lot of actors just do whatever they do, and wherever the camera is, it is. They don't pay much attention, but I always did. I was always very close to the camera crew. They were my best buddies, no matter what movie or show I was doing.

It wasn't like I picked a camera up in 1989 and stopped making music. I picked a camera up and found another form of expression.

Tracy and I were pretty good friends before '30 Rock.' The chemistry you see on camera - that's what it is. What you see on camera - that's just friends, so that's why it comes across so well on TV.

I like having the digital camera on my smart phone, but I also like having a dedicated camera for when I want to take real pictures.

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.

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 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 have been trying to retire to the back of the camera for quite a few years, and in 1970, when I first started directing, I said, 'If I could pull this off, I can some day move to the back of the camera and stay there.'

I couldn't be 'Johnny' in front of a camera in acting jobs and behind the camera I like to be 'Michael.' With directing, you can't do it by halves. There's a lot of reflection, and I have found that I, as 'Michael,' thrive on it. It's lovely coming home and feeling that stuff from a day's work as myself.

The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.

So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.

I am not trying to be one of those sadistic, Kubrickian directors who is trying to make these tensions any worse or exploit them, but... the camera sees what the camera sees.

I'd been trying to retire to the back of the camera for quite a few years. And then, in 1970, when I first started directing, I if I could pull this off, I can some day just move in back of the camera and stay there.

To be honest, I don't know... something about the camera like turns me into such a diva. Like when it's on and I see my face in the camera, I'm just like, oh girl you look so good!

If you can shoot well, all you need is a disposable, toy camera or a camera phone to create great work. If you're not talented, it doesn't matter if you buy a Nikon D3X or Leica; your work will still be uninspired.

I have been around for more than 30 years and it has been quite a journey. It had its glorious moments on camera and painful moments off camera.

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

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.

All I kept thinking about was, "Man, he's so relaxed onstage! I'm never going to be that relaxed! I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera."

When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.

One of the things I learned early on was the system of believing: you have to believe in what you say. The camera is the arbiter of truth; it's the all-seeing eye that can pick out discrepancies. You can't lie to the camera. You must believe in what you're saying, or the audience won't believe you.