The illiterate of the future will be the person ignorant of the use of the camera as well as the pen.
Having an eye patch actually makes it easier to look through a camera - I don't have to close one eye like everyone else.
I am a man of very many anxieties but doing strange things with the camera is not one of them.
I always carry a camera because it is so important to me to take pictures and document all the incredible things and places I have been able to see through this experience.
Actually, I would love to make a music video. Maybe it would finally put to rest those persistent rumours that have followed me throughout my career - particularly when I was on camera performing - that I had died.
During the shooting of a scene the director’s eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the cameras are rolling, I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn’t right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way. I believe this is what the medieval Noh playwright and theorist Zeami meant by ‘watching with a detached gaze.’
There is something about this process, and about the whole 8 x 10 [camera] business, that takes it out of the arena of the snapshot, even though, of course, I'm always desperate for that feeling. I wanted those family pictures to look effortless. I wanted them to look like snapshots. And some of them did.
Our government has become too responsive to trivial or ephemeral concerns, often at the expense of more important concerns or an erosion of our liberty, and it has made policy priorities more dependent on where TV journalists happen to point their cameras. . . . As a nation we have lost our sense of tragedy, a recognition that bad things happen to good people. A nation that expects the government to prevent churches from burning, to control the price of bread or gasoline, to secure every job, and to find some villain for every dramatic accident, risks an even larger loss of life and liberty.
So they were turning, after all - those cameras. Life, which can be strangely merciful, had taken pity on Norma Desmond. The dream she had clung to so desperately had enfolded her. Norma: You see, this is my life. It always will be! (In a whisper) There's nothing else - just us - and the cameras - and those wonderful people out there in the dark. All right, Mr. De Mille, I'm ready for my close-up.
I'd really rather leave it to others to say what they see in it and to see if I've put something into my photographs beyond a mere recording. Yes, I've chosen the camera position, how I'm going to print the negative, the angel of the lens, what I'm going to include and exclude in the composition, so on and so forth. But, I'm still photographing a work of art, and I would rather leave it to others to comment on my work, as I just left it to you.
This is the same problem I have with digital photography. The potential is always remarkable. But the medium never settles. Each year there is a better camera to buy and new software to download. The user never has time to become comfortable with the tool. Consequently too much of the work is merely about the technology. The HDR and QTVR fads are good examples. Instead of focusing on the subject, users obsess over RAW conversion, Photoshop plug-ins, and on and on. For good work to develop the technology needs to become as stable and functional as a typewriter.
Once digital came, I could see my images instantly right there on the camera. I think that makes you a better photographer because you can see right there if your subject's eyes are closed or if you exposed it wrong and if it's too bright or dark. You can fix it right here. With film, you wouldn't know until you got the prints back if something was messed up, and then there was nothing you could do. That was a huge advantage.
As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible, but unfortunately every digital camera (and every scanner that captures traditional photos) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure-there's a cast.
Kids and cameras are a big things with me. Find a kid who digs cameras and share one simple photo tip with her.
The funny thing is that the process of coming up with an idea for a column or a 'Candid Camera' sequence is essentially the same thing. I just live my life with eyes and ears perhaps a little bit wider open than some people. Whatever bothers me or seems off kilter or in need of parody-or on a serious subject, in need of examination-in the past I had done a sequence about it. Now I write a column about it.
There is no off position on my visual switch, and I don't want one. I love, and always have, telling stories with my camera.
I was very new to working in front of the camera when I started shooting Gatsby, so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
If you are what you say you are A superstar Then have no fear The camera's is here and the microphones and they wanna know Oh oh oh oh yeah If you are what you say you are Then have no fear
There's always going to be that pressure when you're in front of the camera. When you're famous it's just an extreme version of reality and there's a pressure to look a certain way.
The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.
The first really important book I read about filmmaking was The Film Technique by Pudovkin. This was some time before I had ever touched a movie camera and it opened my eyes to cutting and montage.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
It tore us up emotionally hearing someone say to the judge and the cameras that this is a band that creates music that kills young people. We accept that some people don't like heavy metal, but we can't let them convince us that it's negative and destructive. Heavy metal is a friend that gives people great pleasure and enjoyment and helps them through hard times. “Whether there's any 'subliminal effect' from the court, I don't know, but we certainly couldn't let it interfere with our creativity.
And the president should be doing more about education than saying, 'Lights, camera, action.'
When I get up in the morning I brush my teeth and go about my business, and if I am going anywhere interesting I take my camera along.
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