Visual Recording Quotes

Photography, alone of the arts, seems perfected to serve the desire humans have for a moment - this very moment - to stay.

Cameras began duplicating the world at that moment when the human landscape started to undergo a vertiginous rate of change: while an untold number of forms of biological and social life are being destroyed in a brief span of time, a device is available to record what is disappearing.

I think that devices like Glass are going to do a terrific job of capturing your first-person perspective. And that's what people first think of when they think of GoPro.

A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.

To us, the difference between the #‎ photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #‎ photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.

I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.

The camera is a mirror with a memory, but it cannot think.

Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.

We can now with Google Glasses record everything around us, and we can make sure that nothing is ever forgotten because everything is stored somewhere in Google servers or somewhere else.

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

I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.

Traditionally, photography has dealt with recording the world as it is found. Before photography appeared the fine artists of the time, the painters and sculptors, concerned themselves with rendering reality with as much likeness as their skill enabled. Photography, however, made artistic reality much more available, more quickly and on a much broader scale.

The standard way to record a meeting is to list people's names, the topics, and action items. The visual way is to doodle a rectangle (the table) populated by figures (the participants) sitting around the table with their comments as cartoon word balloons.

Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. Walden contains material from the years 1964-1968 strung together in chronological order.

A camera is wild in just about anybody's hands, therefore one must set limits. But cameras have a life of their own. Cameras care nothing about cults or isms. They are indifferent mechanical eyes, ready to devour anything in sight. They are lenses of the unlimited reproduction.

It's very difficult to get any footage of yourself doing what you love unless you have a friend who's a photographer or videographer and wants to document you. That was really the idea and the goal from the beginning: to help people get a good photo, and then it was to help people get a good video.

I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, fixed.

The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.

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

What goes down on film is different to what you see with the naked eye.

The visual does seem to me the most thoroughly grasped and recorded among my impressions; sight seems to be my principal sense organ, and "seeing" supplies the key metaphors for reporting the perception.

I'm a very boring person, and all I do is want to paint and to record what I feel moves me or what interests me, and that can be in the form of a pig or in the form of President Kennedy.

Important lessons: look carefully; record what you see. Find a way to make beauty necessary; find a way to make necessity beautiful.

Cultivate an ever-continuous power of observation. Wherever you are, be always ready to make slight notes of postures, groups and incidents.

Use your ears to record and your eyes to video.