Camera Lens Quotes

You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.

The camera has its own kind of consciousness; in the lens the Garden of Eden itself would become ever so slightly too perfect.

When you see what you express through photography, you realize all the things that can no longer be the objectives of painting. Why should an artist persist in treating subjects that can be established so clearly with the lens of a camera?

From the beginning, the camera and I were great friends. It loves me, and I love it.

I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.

I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.

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

Cameras aren't guns. They can't really hurt you.

The lens is the actor's best critic... showing his mind more clearly than on the stage. You can get wonderful cooperation out of the lens if you are true, but God help you if you are not.

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 truth. The cinema is truth twenty-four times per second.

Looking through the camera lens reduces noise; as humans we see a million shapes, colours and textures. What the lens does, what art does in general, is get rid of all the noise. It hones in and isolates the qualities of a scene.

Be sure to take the lens cap off before photographing.

When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.

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've been in wars and in riots and hung out of many helicopters in the early days. And there's a detachment that happens when you look through the camera. You're looking for the shot.

The camera looks into your soul.

Cameras are a lifesaver for very shy people who have nowhere else to hide. Behind a lens they can disguise the fact that they have nothing to say to strangers.

I don't have to be a pretty face. I've done that, but now it's important and liberating to be on the other side of the lens. I don't like to be the center of attention anymore.

Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.

The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.

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

What the human eye observes casually and incuriously, the eye of the camera (the lens) notes with relentless fidelity.

You've gotta understand camera angles, camera movement - a kick that may not be very powerful may look very powerful from a certain angle.