We have seen amazing, creative and interactive pictures from camera owners, and I'm looking forward to the Lytro camera being available in Australia.
I think at this point, I'd eventually like to work behind the camera. That's not to say I would never act again, I'm not quite sure to be honest.
I felt very insecure about whether I was up to recreating my stage 'Fagin' in front of a camera.
I was really awful at auditions. There's something about sitting down and saying into the camera: 'I'm Nina and this is the name of my agent.' That makes me just die inside.
If you're shooting a really serious, dramatic scene, personally I wouldn't want to look at the camera.
They don't tell you how to be on TV - they put the camera on you, and they turn it on, and you sink or swim.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
You are a pest, by the very nature of that camera in your hand.
Unlike others who have been caught swearing on camera, I apologised immediately. And yet I am the only person banned for swearing. That doesn't seem right.
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
I always hated how I looked on camera. I never put a face to my music, which actually made the music that much more mysterious.
When I have a camera in my hand, I know no fear.
The problem with not having a camera is that one must trust the analysis of a reporter who's telling you what occurred in the courtroom. You have to take into consideration the filtering effect of that person's own biases.
You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.
When you're in front of the camera, you have to try to create different emotions because even the person making pictures of you needs inspiration. To be 'you' means nothing - you can be so many yous.
The eye is much more dynamic than any camera.
We have parties at my house. My girlfriends and I play our iPods, with all of our favorite songs. We pick our songs and jump up on the counter and dance, and do runway stuff, and we take video with my camera. When I'm with my girlfriends, I act like I'm 19.
People have always taken photos of themselves, either with camera timers or by handing their Nikons over to strangers in foreign countries and then paying large sums to get them back.
I find in film acting that however many years you have done it for, you can feel totally relaxed and at ease with the people around you, absolutely wonderful, then roll camera and a little part of you goes, 'Ugh'. It is learning how to manage that.
I think I'm like that nerdy dad from middle school who always has a video camera, but in the same respect, I only take it out during interesting occasions.
I love it behind the camera as much as I do in front.
I'd go down to the end of my street, to a garage that had a certain feeling about it, or a particular light; I'd take a picture of a friend who needed a head shot. That's how I learned, instead of having school assignments and learning camera techniques.
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.
By nature, I am a low-key person and like being behind the camera.
I know I have the ability to do so much more than just stand in front of the camera the rest of my life.
I believe in living with the camera, and not using the camera.
You must photograph where you are involved; where you are overwhelmed by what you see before you; where you hold your breath while releasing the shutter, not because you are afraid of jarring the camera, but because you are seeing with your guts wide open to the sweet pain of an image that is part of your life.
If you can be who you are on camera, which is not easy, then I think you're going to be successful.
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.
I think I was afraid of what I might say when I got onto someone's stage or in front of someone's camera.
I haven't grown since I was 13, and every girl cast opposite me isn't allowed to wear heels on camera, for fear that I would look minuscule. In all of the casting calls for my best friends on every project, it says in big, bold, red letters: 'Please no high heels.' It's a little embarrassing.
In case you haven't heard, my girlfriends and I have declared the summer of 2012 as the best summer ever. The best way to document said 'best summer ever' is with a good ol' disposable camera. Smile, click, move on! Nobody gets pic approval, and there's no time wasted gathering around the camera to analyze a moment that just happened.
What's so amazing about 'All in the Family' is sometimes an entire act was one camera shot. It was all about characters.
Karl Malden was quite a mentor. He taught me things he had learned from being in front of a camera so long.
You don't rehearse jazz to death to get the camera angles.
I like a good cry - it's cathartic; it's a release. But I've never been able to be so free to do that on camera the way some actors can.
