Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.— Hannah Hoch
Bashful Camera Lenses quotations
As soon as I look up, his eyes click onto my face.
The breath whooshes out of my body and everything freezes for a second, as though I’m looking at him through my camera lens, zoomed in all the way, the world pausing for that tiny span of time between the opening and closing of the shutter.
If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.
I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.
Neither camera, nor lens, nor film determine the quality of pictures;
it is the visual perception of the man behind the mechanism which brings them to life. Art contains the allied ideas of making and begetting, of being master of one's craft and able to create. Without these properties no art exists and no photographic art can come into being
The camera has always been a guide, and it's allowed me to see things and focus on things that maybe an average person wouldn't even notice.
Forget the camera, forget the lens, forget all of that.
With any four-dollar camera, you can capture the best picture.
If the photographer is interested in the people in front of his lens, and if he is compassionate, it's already a lot. The instrument is not the camera but the photographer.
I shoot with a few different camera's.
A Sony A6000 with several lenses and a Lumix LX100 with a beautiful Leica lens. I like to travel light so I can have it with me most of the time. I really try and document all the places we travel to.
Love, even of the most ardent and soul-destroying kind, is never caught by the lens of the camera.
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.
My first priority when taking pictures is to achieve clarity.
A good documentary photograph transmits the information of the situation with the utmost fidelity; achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.
The difference in 'seeing' between the eye and the lens should make it obvious that a photographer who merely points his camera at an appealing subject and expects to get an appealing picture in return, may be headed for a disappointment.
She was like a camera that had been chronically out of focus until someone came by and twisted the lenses into alignment.
In front of the camera and in front of the lens, there's no lawsuits, there's no agent, and there's most frequently no time limits... There's a longevity that's kind of built into it. I spend most of my time behind the scenes, and when it is time to perform, I'm genuinely delighted to do it.
Behind the camera, I was invisible. When I lifted it up to my eye it was like I crawled into the lens, losing myself there. and everything else fell away.
Best wide-angle lens? Two steps backward. Look for the 'ah-ha'.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
The world I feel, within the realm of art, is more genuine than the wrorld of matter. Artistic feeling is not tape measures, spectrographs, or flash camera lens.
Memory is a tenuous thing, like a rainbow's end or a camera with a failing lens.
I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.
There is no romance without some lying.
That's what romance is - a little bit of Vaseline on the camera lens of life.
A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories... I don't think that part can be learned. You either have that inside, or you don't.
Hyperrealism is more about objectifying.
.. how an object can be portrayed when it is seen through a camera's lens... all my paintings are about an object being viewed through human eyes.
As for garden photographers, how differently they see things.
With what ease the camera seems to compose a picture of great beauty with its discriminating lens. The naked eye can't censor some ugly sight on the periphery of vision; the photographer takes the perfect shot and picks for us just what we need to see.
The naked figures in the landscape have willingly undressed for my camera.
They are either perfect beings heroically occupying their Edens, or else they are gardeners after the Fall, lost and exposed to both the elements and the lens.
For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.
It's great to get insight into the era of 80's rock-n-roll via a treasure trove of photographs skillfully captured in front of Mark Weiss' camera lens. This event is the perfect time capsule for Mark's work finally being released upon the masses in 2012.
I'm a natural behind the camera... My attentions are more toward behind the scenes, more toward creating, producing, and directing what's going on here... When I finally do pop in front of the lens, I'm genuinely glad and relieved to be there.
The camera has its own kind of consciousness;
in the lens the Garden of Eden itself would become ever so slightly too perfect.
This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa [Dorfman] and actually operate the camera. Well one of the cameras, because there were four cameras there.
I really love it, I love working with directors that are very collaborative and allow me input. I've done over 75 films, it's just like you're an apprentice. You learn so much about camerawork, lenses, and I'm always talking about DPs and directors and they always give me lists. I think pretty soon, I'll be ready to move away from being in front of the camera.
There's just something about getting up, putting it out there, and getting this exchange of energy. Whether your audience is a camera lens, or live theater, or whatever it is, just putting that out there and getting it back is just an honor.
Stage performance is obviously a much grander sort of depiction.
The audience isn't right in your face as close as a camera lens gets.
Photography is inextricably linked with life;
the photographer is not invisibly behind the camera but projecting a life-attitude through the lens to create an interference pattern with the image. Who he is, what he believes, not only becomes important to know intellectually, but also becomes revealed emotionally and visibly through a body of work.