Gina Bellman Quotes

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.

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

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.

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

When I buy a Nikon camera, I have no tolerance for the instructions. I'm ready to make some mistakes using it and get some bad pictures back until I've figured it out for myself.

Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.

The glory of 70mm is the sharpness of the image it offers.

When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

What makes 4K so interesting is it captures lifelike cinema-quality video.

I think 'Avatar' is much more appropriate to high frame rates because it's like a ride, and it's futuristic, and vividness and sharp edges and clarity would be an asset.

I'm a huge, huge fan of Blu-ray. I think the picture and the sound quality is just such a massive improvement, and I think for movies like 'Event Horizon,' where the image is a key part of that film, and also the sound, as well, in any scary movie is an important element.

So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.

What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.

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.

I love a well composed shot. It doesn't necessarily have to be beautiful, but it must be well composed.

In the past, there were many times when I thought, 'This photo doesn't look good with a low angle, or this part bothers me.'

We are splintering what was the 'camera' and its functionality - lens, sensors, and processing - into distinct parts, but, instead of lenses and shutters, software and algorithms are becoming the driving force.

With film, you stop and go. You have to do 20 takes or whatever.

A small lens gives you a very specific look. You don't have a shallow depth of field.

For me, there's far too many close-ups in film. They're a television technique.

I'm just the opposite of a lot of photographers who want everything to be really, really sharp. And they're always, you know, stopping it down to F64.

A better quality of video is better for everyone.

It's usually so fraught when you're taking a picture. I work with an 8-by-10 view camera and there's a, you know, hood that I put over my head, and it's tricky and complicated.

To receive footage that has been shot with editing in mind, it is a blessing.