People who wouldn't think of taking a sieve to the well to draw water fail to see the folly in taking a camera to make a painting.
... If we consider the difference between William Henry Jackson packing in his camera by mule, and the person stepping for a moment from his car to take a picture with his Instamatic, it becomes clear how some of our space has vanished; if the time it takes to cross space is a way by which we define it, then to arrive at a view of space 'in no time' is to have denied its reality.
The camera points both ways. In expressing the subject you also express yourself.
Photography through the camera is an instrument of detection. We photograph not only what we know, but also what we don't know.
The contemporary artist...is not bound to a fully conceived, previsioned end. His mind is kept alert to in-process discovery and a working rapport is established between the artist and his creation. While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows,' is it not also conceivable that the mind knows more than the eye and the camera can see?
When the novice photographer starts taking pictures, he carries his camera about and shoots everything that interests him. There comes a time when he must crystallize his ideas and set off in an particular direction. He must learn that shooting for the sake of shooting is dull and unprofitable.
The photograph is not only a pictorial report; it is also a psychological report. It represents the feelings and point of view of the intelligence behind the camera.
We do not make photographs with our cameras. We make them with our minds, with our hearts, with our ideas.
"Utter truth is essential, and that is what stirs me when I look through the camera."
Though, technically, I'm shooting on location, my films are actually based inside a woman's heart. I think women are more emotional than men, and that's a thread I've explored in all my films. When I see TV these days, I'm shocked at how all the main women characters are portrayed as evil. Women are the foundation of everything, and they deserve to be treated that way on camera.
Most modern reproducers of life, even including the camera, really repudiate it. We gulp down evil, choke at good.
Raksin worked for Alfred Hitchcock, about whom one of the most famous Raksin anecdotes was spoken. The legendary director declared he wanted no music at all for the oceanic Lifeboat, because he felt audiences would wonder where the music was coming from in the middle of the sea. Raksin said, Ask Hitch where the cameras are coming from.
If you ever see me getting beaten by the police, put down the video camera and come help me.
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.
A saucer flew right over (us), put down three landing gears, and landed out on the dry lakebed. (The cameramen) went out there with their cameras toward the UFO.... I had chance to hold (the film) up to the window. Good close-up shots. There was no doubt in my mind that it was made someplace other than on this earth.
Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been - what people needed protection from. Now nature tamed, endangered, mortal - needs to be protected from people.
I hate crowds and making speeches. I hate facing cameras and having to answer to a crossfire of questions. Why popular fancy should seize upon me, a scientist, dealing in abstract things and happy if left alone, is a manifestation of mass psychology that is beyond me.
I'll be gray by the time I'm 30, but I like my hair. It looks shiny. I like the way it looks when those highlights are picked up on camera.
I'm glad that so many of Donald Pease's unique and revealing insights on Dr. Seuss--observations he shared with me on camera with an effusiveness and profundity quite unmatched--have found their way into book form. No one tells these tales of young Ted, Mr. Geisel, and Dr. Seuss, and makes the connections between the three of them, quite like Dr. Pease.
Cameras and lenses are simply tools to place our unique vision on film. Concentrate on equipment and you'll take technically good photographs. Concentrate on seeing the light's magic colors and your images will stir the soul.
Standing before a camera isn't intimidating. It's more comfortable for me. I enjoy it now. I'm more aware of what to do.
I want to allow others to reveal and celebrate aspects of themselves that are usually hidden. My camera is a witness. It holds a light up for my subjects to help them feel their own essence, and gives them the courage to collaborate in the recording of these revelations.
The camera is, in a sense, both a way to get close, and to break free. It is a testimony to independence as well as a new way to relate to the world
Always carry a camera, it's tough to shoot a picture without one.
You find that you have to do many things, more than just lift up the camera and shoot, and so you get involved in it in a very physical way. You may find that the picture you want to do can only be made from a certain place, and you're not there, so you have to physically go there. And that participation may spur you on to work harder on the thing, . . . because in the physical change of position you start seeing a whole different relationship.
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