Cameras Quotes - Page 5

The camera gave me an incredible freedom. It gave me the ability to parade through the world and look at people and things very, very closely.

When you are a photographer, you work all the time, because your eye is the first camera.

I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.

I can't tell if the world is worse now or if we just have more cameras. There are cameras everywhere, so now the world knows how bad the world is.

[A Polaroid camera] places before you a thing that is more of the thing than the thing was.

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

The camera's a ballpoint pen, an imbecile; it's not worth anything if you don't have anything to say.

The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express.

I wanted [my photography] to appear as though the camera was seeing by itself.

I just happened to have my camera and be photographing my friends. It was totally innocent; there was no purpose to the photographs. There was a purity to them that wasn’t planned; it was realism.

As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.

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.

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.

It’s not when you press the shutter, but why you press the shutter.

Don’t pack up your camera until you’ve left the location.

Nothing happens when you sit at home. I always make it a point to carry a camera with me at all times...I just shoot at what interests me at that moment.

There's a kind of power thing about the camera. I mean everyone knows you've got some edge. You're carrying some magic which does something to them. It fixes them in a way.

With all its technical sophistication, the photographic camera remains a coarse device compared to the human hand and brain.

The camera itself, the photograph itself, calls up death.

There is a camera is between a man and a woman.

Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.

Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.

[The Polaroid camera is] a system that will be a partner in perception, enabling us to see the objects in the world around us more vividly than we can see them without it, a system to be an aid to memory and a tool for exploration.

About shadows: do we see shadows? Loads of people don't. A camera will notice a shadow, but how many people have got a shadow in front of them when they take a picture and don't notice it, and then they see it in the photograph because the photograph will catch the shadow.

Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.