Quotes About Camera

Whether the theater is 1,000 seats or 500 seats or 200 seats, you have to make sure the person in the back of the theater can hear you and understand you. So there's a lot of articulation and a lot of voice in theater that really just isn't necessary when it comes to dealing with the camera.

Being on camera has really rehashed a lot of old feelings, because I dealt with body dysmorphia for a long time.

When I made my debut as an actor in 'Rock On!' I was confident to get in front of the camera.

I went to college and got my degree in acting, but because it was all theater, I really consider my first couple years on 'Mad Men' as amazing training for working in television and for acting on-camera.

It's not just about looking shocked if the scene demands it. It's about feeling that emotion. You can't lie to the camera, because it captures everything. This is what I have learnt over the years.

There's so many interesting aspects of making a movie: the costume department, the set design, the casting itself, the locations.

I don't think a camera and a cameraman can destroy a family.

The advantage of the Genesis is that it's a rock-solid camera, made by a company with an enormous history and a huge support base. Plus, it's very good in low light using all the Panavision lenses. The downside is that you're recording on tape.

Going into an audition or putting yourself on tape, it's not the easiest thing to do especially because an audition is usually a camera and one person and then you have to bring to life this character.

My first taste of the business was the glamorous job of pulling camera cables so they wouldn't get tangled while the football games were filmed.

When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn't even know how to aim the camera in those days.

Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create

The key to a frittata," Mike told the camera, "is to use a really hot pan. Because that, my friends, is what makes it"— he paused dramatically —"fluffy.

Only the camera seems to be really capable of describing modern life.

The possibility of being as free with the camera as we are with the pen is a fantastic prospect for the creative life of the 21st century.

In the car and in front of the camera I tend to be very calm but behind the scenes I can get fired up and passionate, I just don't see the need to shout my mouth off in public.

On deck, he encountered another young man, Thomas Sumner, of Atherton, England, who also had a camera. (Sumner bore no relation to Cunard's New York manager, Charles Sumner.) Both hoped to take photographs of the harbor. The day was cool and gray—"rather dull," as Sumner put it—and this caused the two to wonder what exposures to use. They fell to talking about photography.

the Kodak being a new kind of portable camera that eliminated the need for lens and shutter adjustments.

Put a wildlife camera in your campsite overnight and you'll be surprised and possibly frightened by the amount of nature that comes strolling and slithering through.

My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.

I typically shoot underwater with my regular camera in an underwater housing, and then I usually have two big strobes that I use to light. But with whales, you're not going to be able to really light a 45-foot subject. Your strobes are only effective for maybe five or six feet underwater.

Whenever I see a mirror, I just look at myself, or when I see my own reflection, I quickly take a look; I won't lie about that. But when I am in front of the camera, it's just the character, not me.

If you've got a camera that's two feet away from you, you have to bring it all back down. It's a lot more insular. It's different brush strokes. Whereas on stage, you're playing to people who, depending on the size of the theater, might be 40 meters away from you.

Generally, there's a lot of ad-lib involved with live TV and things like that, whereas with acting in front of the camera, it was, if you screwed up a line, well, you've got another take, and you also had a script to be able to study, so it wasn't all ad-lib and flying by the seat of your pants, which I like both aspects, actually.