Ren Ng Quotes

Basically, with a regular camera, you have to take time or allow the camera to focus before you take the shot.

For low light, all the light rays participate. We're using all the light coming through a large aperture to make a picture with a large depth of field - totally impossible with a conventional camera.

DSLRs take beautiful pictures, but they are hard to focus.

Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.

I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.

When you're shooting with long lenses, even if you're shooting a close-up, you feel the air, the distance between the camera and the subject.

There are a thousand ways to point a camera, but really only one.

Flash turns up the optical volume so that whatever lies behind the lens - be it film or a digital sensor - is a little more receptive.

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.

My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

I've always been intimidated by the technicalities of taking photos, especially with a film camera - not just a point and shoot.

3D prefers you to use wider lenses because when things are out of focus, and yet it's in 3D, it bothers you.

My close-up was magnificent!

I like to know where the camera is.

I became interested in photography when I found my own sketching was inadequate.

The world just does not fit conveniently into the format of a 35mm camera.

My dad had been an ardent amateur photographer, and he taught me to compose a photograph from the back to the front, and then populate the picture.

You learn tricks to make action look more dynamic - having the fight come toward you or shooting on a longer lens to compress the speed.

If you look at classic Hollywood films, they tend to shoot close-ups on quite long lenses and the background it out of focus. You know, it's just a mush.

I always wanted to know what lens they were on, how close they were. I didn't do it with a plan in mind, but I would instinctively gear what I was doing toward what lenses they were using.

I'm not an expert when it comes to technology, but what changed things for me was autofocus. I used to have to throw away half my pictures because it was so difficult to get the focus right.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.

That's one of the best things about the RED ONE - I can use all the best lenses that have been used in film forever.

The less the camera is able to capture what you're seeing in a scene, the more editing it needs.