Top 1200 Camera Quotes & Sayings - Page 2

In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show.

I'm into capturing the moment. Sometimes, I'll rip the camera out of my assistant's hands and he'll be shouting, But there's no film in the camera! and I think, Never mind! Let's go.

The camera was kind to me. But I was never a screen personality like Gable or Flynn. The camera did something with their faces that was special.

I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.

For example, in my dorm, at the University of Kentucky, I had the only camera. I don't think anyone came to college with a camera, other than me.

The camera is a remarkable instrument. Saturate yourself with your subject, and the camera will all but take you by the hand and point the way.

I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.

We have seen amazing, creative and interactive pictures from camera owners, and I'm looking forward to the Lytro camera being available in Australia.

I remember films I made at university, which are unbelievably pretentious. Poetry that I'd written that I delivered to camera, against a Venetian blind, strong shadows, looking slightly off-camera.

There's a subtleness to camera work. You can really create intimate moments on camera, and sometimes that requires a little more precision from an actor because you have to pull people in as opposed to throwing it to them.

I believe in living with the camera, and not using the camera.

Sometimes a camera comes out and people freeze up a little, and I'm like that with normal cameras, but with a film camera, I feel different.

Twenty-four hour news delivers people who stand and talk to camera rather than deliver reported packages with their own camera crew where it's happening.

If you don't like my work in 'The Affair,' that's fine, but I'll stand by the work because I felt that everything that went on camera was what I intended to go on camera.

Designing the technical aspects of my camera movement for me is very important. I want the camera to be a big part in telling the story as well, like what I really believe in with all the films I make.

I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.

When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.

I know it's not particularly tech-savvy of me to suggest a camera that doesn't have a touchscreen, but I think when it comes to candid shots of nights out with friends, there's nothing better than a disposable camera.

When I talk to the camera, mate, it's not like I'm talking to the camera, I'm talking to you because I want to whip you around and plunk you right there with me.

I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!

I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.

I'm trying to use the camera to get into people's heads. I use camera techniques a lot to articulate character.

I don't like to be in front of the camera - my place is behind the camera.

We need women behind the camera like we do in front of the camera. That's when we will have stronger, smarter, better roles for us.

A camera teaches you how to see without a camera.

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.

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.

Running backwards down the stairs, holding the camera, trying to focus on what's in front of you is difficult, and you need to be able to protect the camera.

I used to be a kid with a camera, and that used to be kind of endearing to people. Now I'm sort of an old lady with a camera.

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.

Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.

I have a whole quarantine-on-camera look and it's my Harwell Godfrey hoops, my Phenomenal shirt, glasses, and my hair tied up into a bun. If I'm on camera, I'll wear some makeup.

Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.

I don't have a typical filmmaker background. I didn't grow up with a super eight camera or a video camera. I didn't start cutting movies when I was four or five.

I could never imagine myself acting in front of a camera or doing anything in front of the camera. I was a very shy girl.

I can't remember exactly how old I was when my parents gave me my first camera, but it was a Canon, and I was certainly far too young to have such a good camera.

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.

Painting requires skill. Photography is created by the camera, and one cannot fully control what the camera sees. So people take many photographs because several must always be discarded.

Photographs also show the way that the camera sees. It's not just me or you or anybody else. The camera does something that is different from our own setting.

I don't understand it and haven't understood in this world of technology: where every building has a camera, every ATM has a camera, why don't we have cameras on police officers?

It is not a camera, or a reporter that makes something real and genuine; more often a camera or a reporter does the opposite.

I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.

I have been in public for a long time, so the camera was never an issue for me. I am very comfortable in front of a camera.

Whenever there's a camera around, a video or film camera, it's a great deal harder for those in power to bury the story.

I don't know if the camera likes me, but I do like the camera.

What's cool is that Oprah is the same person on stage and in front of a camera as she is off stage and behind the scenes. She speaks the same way on camera as she does off camera.

The fact that I have a little ten-megapixel camera with me all the time, is way better than having the greatest camera in the world sitting at home on a desk instead of on my shoulder.

While working with a camera crew supervising flight testing of advanced aircraft at Edward's Air Force Base, California, the camera crew filmed the landing of a strange disc object that flew in over their heads and landed on a dry lake nearby. A camera crewman approached the saucer, it rose up above the area and flew off at a speed faster than any known aircraft.

With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.

My videos are a one-woman show - it's just me. I have my camera in front of me, and underneath my camera, I have a monitor. That's where I see everything.

I've seen people 'turn up' for the camera, thinking that this is the best way to maximize their platform and get more camera time. This formula works, but it's shortsighted.

Things like 'I'm A Celebrity,' when they're going to a trial, they might reset the camera for a bit or give a briefing that's not on camera. But 'Big Brother,' you see everything.

Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.

I think about it all the time. I love filmmaking. Whether I'd be in front of the camera or behind the camera, I just love that world.

Look, I really do not care about you. What I care about is the worlds that you bear witness to. You are nothing more than a dog with a video camera strapped on its back. As you walk the streets looking for a place to mate or piss or eat, the camera is on and we will see the world because of you... You carry the camera and we enjoy the world. (On images as autobiography)

The camera’s not a camera, really. It’s an open door we need to walk through. It’s up to us to keep moving our feet.

I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.