Look Into The Camera Quotes & Sayings

One of my favorites:
Robby gave her a skeptical look. "Ye're an angel of death. No offense, but I would call that a wee bit of harm."
"We're called Deliverers, actually. And we're not supposed to take someone before their time."
"How does that work?" Gregori lifted his camera, focusing on her. "I mean do you just go down a line, saying, 'Eenie meenie mynie moe, sorry, dude you gotta go'? — Kerrelyn Sparks

I look at it scene-by-scene. Whether it's a historical character or not, whatever, on the page is one thing and delving into the history or somebody is one thing, but making something work for an audience in front of a camera is another exercise and you bring whatever authenticity you can to it. — Gary Cole

One time a guy handed me a picture. He said, 'Here's a picture of me when I was younger.' Every picture is of you when you were younger. 'Here's a picture of me when I'm older.' 'You son of bit, how'd you pull that off Let me see that camera. What's it look like' — Mitch Hedberg

That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere. — Stephen Rea

What I do love is the traveling ... and getting paid for it! I like being in front of a camera ... It's an outlet. It's fun! If you look through my photo album, they are all modeling poses. My mom was a young mom, so she took tons of pictures of me. — Crystal Lowe

Kaushik, what about a picture?" my father suggested. I shook my head. I had left my camera, my father's old Yashica, at school. "But you always have it with you." That look of irritated disappointment, the one that had appeared the day my mother died and was missing now that he'd married Chitra, passed briefly across my father's face. "I forgot it," I said. It was true, I did always have the camera with me. Even on quiet weekends when I came home and my father and I saw no one I would bring it, taking it with me on walks. This time I had left it behind, knowing that I would not want to document anything. "I don't understand," my father said. "Neither do I," I replied. "You haven't wanted a picture of anything in years." "That's not true." "It is." We were stating facts and at the same time arguing, an argument whose depths only he and I could fully comprehend. — Jhumpa Lahiri

Most times you do a movie every place except for what the camera sees is just a mess with the lights, people, and cameras so you get used to it. There is no way to shut that out, there is always a constant reminder of how many people it takes, what is going on and how many elements that goes into making this scene look right. — Jeremy Sisto

The video camera dominates art. It's a bore, it makes everything look a bit the same. If you look at things with a pencil and paper in your hand, you are going to see far more. — David Hockney

I suppose this happens because we have cameras on our phones. Do we need that? It's not like ten years ago we were thinking, "I wish I could take a low-quality photo of my dessert and text it to someone who's not interested." Remember when photos were special? It was not that long ago. "It's school picture day! We better get Junior a haircut. We want him to look nice. Don't want to waste the time of that camera expert and that precious film. — Jim Gaffigan

I can go barefoot." He chuckles. "You could. But have you looked under the camera box?" "Under?" I go back to the table and pull out the box. Sure enough, there's something else there, wrapped in blue tissue paper. I look at him, but his expression gives nothing away. Slowly, I pull out the tissue paper. Whatever's hidden is flat and firm. I peel back the paper until I reveal a pair of black flip-flops. I look up at Damien and grin. "For walking on the beach," he says. "Thank you." "Anything you want. Anything you need. — J. Kenner

The camera gave me an incredible freedom. It gave me the ability to parade through the world and look at people and things very, very closely. — Carrie Mae Weems

Don't," he said in a voice that was soft but adamant. His troubled expression reminded me that I was not the calming force in his life.
I was the exact opposite.
Moving the bulky camera aside, I asked, "Don't..?"
"Don't look too close."
Lowering the Nikon, I touched the stubble on his jaw. "What are you afraid I'll see?"
Without touching any part of my naked body, he still managed to slay me.
"Everything I've become. — Ella Frank

We actually wanted to ask you a few questions. About the interview you did this morning."
At the mention of her KTVU debut, Caitlyn softened a little. "You saw that?"
I nodded.
"How did I look on camera?"
Her grief was touching. — Gemma Halliday

I dress according to the requirement of the film, as a true actor. Off the camera, I'm just me. I have my preferences and my personal style. Before I step out, I look into the mirror just to confirm that my style is intact. Beyond this, it doesn't matter. — Vidya Balan

They went along a balcony that looked down over the dining room and the dance floor. The lisp of hot jazz came up to them from the lithe, swaying bodies of a high-yaller band. With the lisp of jazz came the smell of food and cigarette smoke and perspiration. The balcony was high and the scene down below had a patterned look, like an overhead camera shot. (Nevada Gas) — Raymond Chandler

When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things. — Pirjo Honkasalo

Like my maestro, Juan Ribero, she believed that photography and painting are not competing arts but basically different: the painter interpets reality, and the camera captures it. In the former everything is fiction, while the second is the sum of the real plus the sensibility of the photographer. Ribero never allowed me sentimental or exhibitionist tricks-none of this arranging objects or models to look like paintings. He was the enemy of artificial compostion; he did not let me manipulate negatives or prints, and in general he scorned effects of spots or diffuse lighting: he wanted the honest and simple image, although clear in the most minute details. — Isabel Allende

Photographs don't discriminate between the living and the dead. In the fragments of time and shards of light that compose them, everyone is equal. Now you see us; now you don't. It doesn't matter whether you look through a camera lens and press the shutter. It doesn't even matter whether you open your eyes or close them. The pictures are always there. And so are the people in them. — Robert Goddard

I look at the others seated around the campfire. Mr. and Mrs. Matsunaga are diligently reviewing the day's photos on his camera. Vivian and Sylvia lounge in their low-cut tank tops, oozing pheromones that make poor, awkward Elliot grovel for attention as usual. Are you gals chilly? Can I get your sweaters? — Tess Gerritsen

Q What makes a question "beautiful"? A beautiful question reframes an issue and forces you to look at it in a different way. It challenges assumptions and is really ambitious. Often, these questions begin with the phrase "How might we..." They have a magnetic quality that makes people want to answer them, to talk about them, to work on them. They make the imagination race. The Polaroid camera came out of a 3-year-old girl's asking, "Why do we have to wait for the picture?" That's a beautiful question. — Anonymous

Kurt Cobain, when he did his videos, you look into his eyes and he couldn't even face the camera; he was in pain and I'm angry about Kurt. This guy didn't have to die. — Steven Tyler

I'm a film guy. I love it. When I read the screenplay, I knew that there would be no HD camera that could achieve the look that I wanted for this film. I wanted it to be dirty, and 16mm provides all of that with the look and the grain. That's what I worked for, and that's what I wanted, and that's how I'd seen the movie in my mind. — Deon Taylor

They understood that. They all understood it. This is not the same as comprehension, but it was good enough. When you stop to think, the whole idea of comprehension has a faintly archaic taste, like the sound of forgotten tongues or a look into a Victorian camera obscura. We Americans are much higher on simple understanding. It makes it easier to read the billboards when you're heading into town on the expressway at plus-fifty. To comprehend, the mental jaws have to gape wide enough to make the tendons creak. Understanding, however, can be purchased on every paperback-book rack in America. — Stephen King

At least Lars was curious about the appeal of jazz to black folk; for most observers, such ponderation is akin to contemplating why gorillas like bananas. The attractiveness of jazz to the nonblack is well documented in publicly funded documentaries where experts speak of jazz in the past tense. They look authoritatively into the camera and ingratiate themselves with the Man by saying things like, "White people were hearing something in jazz that says something deeply about their experience. I'm not sure that it would have been this way if we were not a country of immigrants ... so many people felt kind of displaced ... I think that was part of its amazing appeal, was how it spoke to feeling out of sort and out of joint and maladjusted."
What hogwash. Does my fondness for classical music make me well adjusted? Besides, people who are really fucked up don't turn to jazz; they turn to heroin, opium, whiskey, and Vonnegut. — Paul Beatty

You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at. — Tom Cruise

And I want every one of you, every one of us, 100 senators to look in that camera, and you tell your people back home what you think. Don't hide anymore; none of us. That is the essence of our responsibility. And if we're not willing to do it, we're not worthy to be seated right here. We fail our country. If we don't debate this, if we don't debate this, we are not worthy of our country. We fail our country. — Chuck Hagel

And in more than half the pictures, she isn't looking at the camera; she's looking at him. Not the way I would look at Ben Parish, all squishy around the eyes. She looks at Evan fiercely, like, This here? It's mine — Rick Yancey

Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement. — Peter Weir

The celebrity culture demands a camera-ready-at-all-times look or else the photo is circulated in a demeaning headline. — Zoe Cassavetes

The camera observed me, but there was nothing in my bag except a pashmina, purse, and Lorazepam. I carried emptiness. Doors opened. Another camera recorded my progress. Doubtless there were thousands of my days repeated thus, interred digitally in limbo. I ascended two steps with nothing to look forward to, — Peter Carey

I don't have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities. — Saul Leiter

When I was little, I would always try and look into the television screen along the sides. I kept thinking if you looked in there, you could see what was happening off camera. — Andrea Riseborough

I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think. — Scott Adkins

Having an eye patch actually makes it easier to look through a camera - I don't have to close one eye like everyone else. — Brian Selznick

I tried to resist the urge to reach for my camera. I tried to look, really look, as though this took an effort far greater than the movement of my eyes. You are here, I would say to myself, no part of this moment is melting into the future. You are only here and nowhere else. But I could never believe it. So I would take a photo to stop the world. So that I could keep moving — Leah Stewart

Through a bombed cemetery, long-forgotten Londoners unearthed and flung into trees, grinning in rotted formal wear. A curlicued swing set in a cratered playground. The horrors piled up, incomprehensible, the bombers now and then dropping flares to light it all with the pure, shining white of a thousand camera flashes. As if to say: Look. Look what we made. — Ransom Riggs

Here's the beauty of a camera: you don't have to come up with words for what you're looking at ... Maybe another angle is needed sometimes. When we're burned out from writing, we can photograph or draw, look at the world in a different way, and photographers could try writing what they see. — Barbara Abercrombie

You see the suffering of children all the time nowadays. Wars and famines are played out before us in our living rooms, and almost every week there are pictures of children who have been through unimaginable loss and horror. Mostly they look very calm. You see them looking into the camera, directly at the lens, and knowing what they have been through you expect to see terror or grief in their eyes, yet so often there's no visible emotion at all. They look so blank it would be easy to imagine that they weren't feeling much.
And though I do not for a moment equate what I went through with the suffering of those children, I do remember feeling as they look. I remember Matt talking to me
others as well, but mostly Matt
and I remember the enormous effort required even to hear what he said. I was so swamped by unmanageable emotions that I couldn't feel a thing. It was like being at the bottom of the sea. — Mary Lawson

If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though. — Evan Glodell

As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy ... all of it, through his or her eyes. — Robin Hobb

It seemed like a hybrid of Spinal Tap, the British The Office, and something entirely original. Scenes would be blocked and rehearsed almost like a play, with entire scenes performed top to bottom many times. Two or three cameras would find the action and just follow the actors as they moved around. Actors often didn't know when they were on camera or where the cameras were. "Spy shots" lent a sense of intimacy to moments. Actors were allowed to look into the camera to show their reactions to things and spoke directly to the camera with "talking heads," used to further the story or display another side of what a character was feeling.15, 16 Camera operators were very close or very far away but a dynamic part of the action. We would shoot eight or nine pages in a twelve-hour day, which is about double what one shoots on a feature film. — Amy Poehler

How are we doing, Simon?" she whispered into the small microphone in her collar.
"Just about ... " Simon started slowly. And then he stopped. "Wow."
"What?" she asked, panic in her voice.
"Nothing," he said too quickly.
"What?" she asked again.
"Well ... it's just that ... your boobs look even bigger on TV."
Kat took that opportunity to turn and glare at the nearest security camera. In his bathroom stall thirty feet away, Simon nearly fell off the toilet. — Ally Carter

Acting in 'Command & Conquer 3' called for me to interact with the player and to look directly into the camera, which is a big no no when filming for TV or film. — Grace Park

These aren't still shots; the camera is always moving. And the scene is always just slipping out of sight, as if in spite of myself I were always descending a hill, rounding a corner, stepping into the street with a companion who urges me on, while I look back over my shoulder at the sight which recedes, vanishes. The present of my consciousness is itself a mystery which is also always just rounding a bend like a floating branch borne by a flood. Where am I? But I'm not. I will overturn, overturn, overturn, it: and it shall be no more ... — Annie Dillard

In our yearbook, there is a picture of me and Miah - sitting in Central Park - Miah has his lips poked out and is about to kiss me on my cheek. And I'm looking straight into the camera laughing. Two and half years have passed, and still, this is how I remember us. This is how I will always remember us. And I know when I look at that picture, when I think back to those few months with Miah, that I did not miss the moment. — Jacqueline Woodson

Why do you think there aren't rules to how sex will work? You didn't want to talk to me about what you wanted. You pushed me into the room so I wouldn't turn on the light because you knew damn well I would push back on that, didn't you?"
She stayed where she was. "Yes. I don't want you to see me. I don't look like one of those girls in a magazine."
He groaned, the sound coming from deep in his chest. "Those girls in the magazines are airbrushed and way too thin. The camera adds pounds so those girls are so skinny I wouldn't be able to fuck them for fear I would break them. I want a woman, Avery, not some tiny freaking thing whose waistline only proves she doesn't eat. I want a woman who can take me. I want a woman I can hold on to. So bend over because I want to see your ass. I want to look at it because I've been dreaming about it for days. It's hot and round and so fucking juicy I can't stand it. Get me hot, Avery. Show me your ass. — Lexi Blake

I am a bad actor."
"Not for me or my camera. I see the person, not some idea he wants to make himself into."
"I'm all idea today."
"I definitely don't see it."
"I'm playing the idea of death. Look closely," he said. — Don DeLillo

Poems 1959-2009_

I turn into the man they photograph.
I think I'll ask him for his autograph.
He's older than I am and more distinguished.
The beauty of the boy has been extinguished.
He smiles a lot and then not.
Hauteur is the new hot.
He tilts his nose up and looks imperious.
He wants to make sure he looks serious.
He smiles at the photographer but not
The camera. He thinks cold is the look that's hot.
You know the poems. It's an experience.
The way that Shylock is a Shakespearience.
A Jew found frozen on the mountain at the howling summit,
Immortally preserved singing to the dying planet from it. — Frederick Seidel

As an actor, the first thing you're taught is, 'Don't look into the camera; ignore it.' — Yael Grobglas

Well, I mean, you have an emotion, you want to express it. You don't just look in the camera and do it. You want to hide from the embarrassment of your brother saying you're not allowed to come into my town. — Anthony Quinn

Dreamland Studios then was my bedroom at my parents' house, mostly [starring] people who were in my high school. They look straight at the camera; they're uncomfortable doing it. So, are [early movies] good? No. — John Waters

I never go to the monitor. I just look at the camera monitor and my favorite part of all of the directing, except for the writing and editing of it, is right when we're rolling and they do lines and I'll say "Try this, try this, try this." — Will Gluck

When you're kissing on camera, it becomes an issue visually. It looks like a skinny dinosaur creature is trying to kiss someone. It doesn't look good. It does not look like the classic romance kisses. If an actress is 5'3 and I don't bend down to kiss her, she would probably be kissing my lower sternum. — David Walton

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

I have nothing snarky to say about Joan Rivers' appearance. We should all be that happy with how we look on camera, frankly. — Julie Klausner

When I look out [the window] at the big houses on either side of the road, it's obvious we've entered the rich side of town. Poor people don't post signs like NO TRESPASSING, PRIVATE DRIVE, PRIVATE PROPERTY, MONITORED BY CAMERA SURVEILLANCE. I should know because I've been poor my entire life, and the only person I know who ever posted a sign like these is my friend ... and he actually stole the sign off a rich guy's yard. — Simone Elkeles

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there. — Alfonso Gomez-Rejon

This was not Newt's fault; in his younger days he would go every couple of months to the barber's shop on the corner, clutching a photograph he's carefully torn from a magazine which showed someone with an impressively cool haircut grinning at the camera and he would show the picture to the barber, and ask to be made to look like that, please. And the barber, who knew his job, would take one look and then give Newt the basic, all-purpose, short-back-and-sides. After a year of this, Newt realized that he obviously didn't have the face for haircuts. The best Newton Pulsifer could hope for after a haircut was shorter hair. — Neil Gaiman

Bizarrely, on movie sets, they don't really dig it when you look in the camera, which is a bizarre fact. — John Krasinski

It was Ernie Haller, who had photographed Bette Davis in Jezebel and Vivien Leigh in Gone with the Wind, who was solely responsible for the visuals in Mildred Pierce, said Crawford. "Ernie was at the rehearsals. And so was Mr. [Anton] de Grot, who did the sets. I recall seeing Ernie's copy of the script and it was filled with notations and diagrams. I asked him if these were for special lights and he said, 'No, they're for special shadows.' Now, that threw me. I was a little apprehensive. I was used to the look of Metro, where everything, including the war pictures, was filmed in blazing white lights. Even if a person was dying there was no darkness. But when I saw the rushes of Mildred Pierce I realized what Ernie was doing. The shadows and half-lights, the way the sets were lit, together with the unusual angles of the camera, added considerably to the psychology of my character and to the mood and psychology of the film. And that, my dear, is film noir." "Mildred — Shaun Considine

Photographs are very interesting, and you can look into them a million times and still find a new meaning in them, something in the past that was caught in the film itself ... — Rebecca McNutt

I try to express with the camera what the story is, to get to the heart of the story with picture. In battle I look at things first in terms of people, second in terms of strategies or casualties ... To tell a story, you don't photograph one hundred dead civilians to prove there were one hundred dead civilians. You photograph one dead civilian with an expression on his face that says, This is what it's like if you're a dead civilian in Vietnam. — Horst Faas

Gotten a good look at her face. But they didn't recognize her as Stark's cohort. They must not have been big on reading blogs or watching the news. Deirdre took the camera. "Sure. Where's the button?" He quickly showed her how to operate it, and Deirdre stepped back to get both of them in the frame. The camera had a telephoto lens. She aimed it at the top of the building, zooming in so that she could look at the skeletal upper levels, where they were preparing to moor a visiting dirigible. With such fantastic zoom, she could see that there were OPA guards in black suits waiting to receive the airship. — S.M. Reine

Instead I just stand there, tears running down my cheeks in nameless emotion that tastes of joy and of grief. Joy for the being of the shimmering world and grief for what we have lost. The grasses remember the nights they were consumed by fire, lighting the way back with a conflagration of love between species. Who today even knows what that means? I drop to my knees in the grass and I can hear the sadness, as if the land itself was crying for its people: Come home. Come home.
There are often other walkers here. I suppose that's what it means when they put down the camera and stand on the headland, straining to hear above the wind with that wistful look, the gaze out to sea. They look like they're trying to remember what it would be like to love the world. — Robin Wall Kimmerer

I grew up watching Lindsay and it made me want to do what she does. Just the whole vibe. Being there, being on camera, or on stage, with everybody listening to you it's so cool when people look up to you. I've already been asked for my autograph and it's just a really good feeling to have. — Ali Lohan

We changed our rules. If a player does not have some sot of altercation on or off the court once each month, we fine him ... The guys that are our top four scorers, each of them will be required once every two months to appear on MTV. The guys who shoot the worst free throws over a one-month period, next time we have a TV game they're required to look into the camera and beat their chests after they make a good play. — Gregg Popovich

I make the woman look at the camera as a symbol of all the eyes that will see the picture I am making. — Philippe Halsman

We all experience it. Those moments when we gasp and say, Oh, look at that. Maybe it's nothing more than the way a shadow glides across a face, but in that split second, when you realize something truly remarkable is happening and disappearing right in front of you, if you can pass a camera before your eye, you'll tear a piece of time out of the whole, and in a breath, rescue it and give it new meaning. — Joel Meyerowitz

Bleak factory buildings and billboard-cluttered avenues look as beautiful, through the camera's eye, as churches and pastoral landscapes. — Susan Sontag

I've been a soldier, I've been a bunch of little girls, all sorts of roles that I would not have been able to be with on camera context because I just don't look the part. — Ashly Burch

As a young person, and I know it's hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn't do normally if I was just by myself. — Annie Leibovitz

I'm not an actor that tends to care. I don't ask 'Is this a close up? Is this a master? Is this a wide? What are you doing? If I look up and notice the camera I go 'Oh, it's a big one today, must be an IMAX.' And that's kinda it for me because it doesn't affect what I'm doing. — Christian Bale

It's an incredible privilege for an actor to look into the camera. It's like looking right into the heart of the film, and you can't take that lightly. — Emily Watson

I just think it's bad when a boy looks at a girl and thinks that the way he sees her is better than she actually is. And I think it's bad when the most honest way a boy can look at a girl is through a camera. — Stephen Chbosky

Even someone as photographed and aware of the camera as members of the royal family needs to feel completely comfortable if they are to look their best. — Mario Testino

I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles. — Vic Morrow

They have to say SOMETHING. Maria Bartiromo can't exactly look into the camera and say that the Dow is down half a percent today because of random Brownian motion. — Philip M. Rosenzweig

That's different, I said. And it was. A portrait is a picture where somebody gets to choose what you look like. How they want to see you. A camera catches whichever you happens to be there when it clicks. — Carol Rifka Brunt

My acting technique is to look up at God just before the camera rolls and say, 'Give me a break.' — James Caan

What we're going for, in those humorous moments, is the absurdity of it all. The craziness of the night manager offering them an umbrella in the height of what is a horrible disaster was like, "What?!" That's Andy Greenfield, and he nailed the audition. He's the sweetest guy in the world, as is often the case with those guys, but on camera, he's so creepy that a lot of us kept saying, "You know, Andy, don't look at us like that anymore, okay? You're scaring us." — Remi Aubuchon

I've always found paintings of nudes depressing because they can't compete with photographs. The grainiest photograph of some girl, a blurry Polaroid - you'd rather look at that than the Venus de Milo, because you think, Wow, that's really somebody ... This camera really was in front of this real naked lady. — John Currin

Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on. — Matt Damon

We're so distracted, we're missing out own lives. The parent who records his kid's dance recital or first steps or graduation is so busy trying to capture the moment--to create a thing that proves that they were there--they miss out on actually living and enjoying the moment.
I've done this before with my camera. I have jockeyed for position, bumping elbows with other parents so I could get into the best spot to look through the viewfinder of my SLR to capture the moment of my daughter's dance recital. Five-year-old Phoebe was so cute in her little sailor outfit, tapping away. And I got some great pictures. It's just that while I remember getting the pictures, I do not recall the moment. So much of the time we don't trust ourselves to experience our world without stuff. Things so often don't enhance our lives, but are barriers to fully living our lives. — Dave Bruno

I plan to join the 'SNL' band as a maraca player and stand behind saxophonist Lenny Pickett. That way they will at least cut to me before commercial breaks. I'll be sure to look right into camera. — John Mulaney

After I discovered my degree in photojournalism would only get me a job in a camera store, I taught myself lighting. I read tons of magazines and books and studied the photos trying to figure out how they were done. I bought some flash equipment and played around until I figured out how to make a subject look as I envisioned it should look. — Peter Menzel

I had a rope around my waist, and the rope was attached into the helicopter in case I fell off. And the shot was a shot that began with Kim Novak going out of a house and getting into a bus. Then it was supposed to go over the countryside and find a freight train on which Bill Holden was standing. And then after seeing a good look at the freight train, the camera was supposed to move up into the sky for the end credits. — Haskell Wexler

People always say that digital cameras are much more stable than film cameras, but the truth is that digital cameras, or any kind of digital technology, is one of the most unstable things in the world. A film camera can last decades if you know how to look after it, but digital things can break down instantly. A violent storm, a nuclear bomb, even something as minor as a cracked screen or the releasing of newer models, can make a digital product just a block of useless metal. — Rebecca McNutt

Look and think before opening the shutter. The heart and mind are the true lens of the camera. — Yousuf Karsh