Dropbox, with its emphasis on good old-fashioned hierarchies, is superb at automatically saving one original of each photo I take, whether shot with a phone or a fancy camera. No loops, no duplicates, no confusion.
It's been really interesting watching people's reactions to the new music, to the old music and also watching how modern young people will be standing in front of something going on like live music, and there's a camera in front of their face.
I wanted 'Night of the Living Dead' to look naturalistic, but we weren't able to do it because we were shooting with a blimped 35mm camera, which is automatically static.
I always have traveled with a camera throughout my life, but I always had my old 35mm film camera. When I was training to go into space, the only equipment there was a digital camera. I went through a fast-track class on Earth. It actually was fun, though I'm basically a dinosaur with computers.
When you're an actor or actress in this business, usually the natural progression is to direct, but a lot of times, we don't get a chance to get to it. Myself, I really want to get into it. I want to be the person who eventually doesn't have to be in front of the camera.
The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
A writer can write in an attic, or on top of a bus. Or with a sharp stick in some wet cement. To act, an actor has to have words. A stage. a camera turning.
If you think and feel what you're supposed to think and feel, hard enough, it'll come out through your eyes - and the camera will see it.
When you're modeling you're actually acting for the camera and the photographer. It's more fun, too because there are no lines to memorize.
One of my favorite things to do is be in front of the camera and act.
I love what I do and being in front of the camera. But I never want to limit myself to just one thing and just venture out into new things.
It has become commonplace to call Trump a reality TV star. That is said as an aspersion, the way Ronald Reagan was called an actor. But Reagan's acting experience, his ability to talk to the camera and not yell to the hall, is what helped make him such a good politician. It is the same with Trump.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box.
In terms of Cube I think he's very conscious of the technical aspect of the business whereas when you're just hired as an actor, you're not really secure in that part of your work and you're not really paying attention to where the camera.
Sheridan is still there, he's the president of the Alliance, everything that was in place when the series is there is still there, we're just moving the camera over a couple of light years.
When a regular camera focuses physically, what the regular camera is doing is adjusting the lens relative to the sensor to bring different parts of the scene into focus.
Everywhere you go you hear things that are untrue. You've just got to learn that if I don't say it, physically out of my mouth, on camera, it's not true.
A lot of people have experimented with hidden cameras and magic before. What I do, which I think is different from any other style of prank or hidden camera, is that it's all fun. It's back to that kind of fun that 'Candid Camera' was. It's not mean-spirited at all. It's a joyful kind of play with people.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
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.
So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.
Today, the smartphone in your pocket has a high-quality digital camera. Everyone - not just artists - is a photographer, and the explosion of photos taken annually proves it.
In motion pictures, the actor rules. The camera served the actor.
Camera companies, like traditional phone manufacturers, dismissed the iPhone as a toy when it launched in 2007. Nokia thought that the iPhone used inferior technology; the camera makers thought that it took lousy pictures. Neither thought that they had anything to worry about.
People who are good at film have a relationship with the camera.
I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.
I love Nars blush in Orgasm. I use it on and off camera because it gives you a nice glow from within. My favorite mascara is Diorshow Iconic, and then I love the Make Up For Ever HD Powder. It lets your skin look shiny and fresh, but not greasy-shiny.
I mean, if a camera's on you all the time, you don't get real moments.
I don't think I approach my songs differently from other artists. You get a big picture of it, and you imagine the song and hear and feel it, and that big picture is like a snapshot, and it comes to you as fast as it takes to click a camera.
I am a camera with its shutter open, quite passive, recording, not thinking.
Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.
I feel more comfortable in front of a camera than anywhere else.
I know a lot of people who are very good at their craft who have learned - people behind the camera - who really have a lot to offer because they know what they're doing, they know what to do, they've made their mistakes.
Well, I think the camera freedom is something that we've resisted for a long time and feels like probably the biggest stretch. But it has some huge benefits.
