Eras Quotes - Page 8

... we are there with our cameras to record reality. Once we start modifying that which exists, we are robbing photography of its most valuable attribute.

I bought my first camera to photograph my brother's children. I learned a lot from that experience. The value of innocence and of not being focused on yourself, and I have to say that these things have remained with me to this day. I can immediately feel when someone is putting on a camera face.

When I look at pictures I have made, I have forgotten what I saw in front of the camera and respond only to what I am seeing in the photographs.

I think Instagram at its best is where you feel like you're getting the most authentic version of the person on the other side of the camera.

Probably one of the worst things that happened to photography is that cameras have viewfinders.

I was born in front of a camera and really don't know anything else

Because you know, we live in an era now where everything is pushed. We live in a push world where everything gets pushed to you. It's like, I don't have to wait for you to send it to me, I'll go get it off the Internet. So it was difficult to be back in that sort of situation. But it was cool.

Social Security is a plan that actually was designed in a much different time, in a different era, and with a different set of American demographics in mind.

Leica, schmeica. The camera doesn't make a bit of difference. All of them can record what you are seeing. But you have to see.

The camera adds a certain sheen to things. Something about being frozen in time really makes things sparkle.

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.

There is an aggression implicit in every use of the camera.

Photography through the camera is an instrument of detection. We photograph not only what we know, but also what we don't know.

I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

Aviation seems almost a gift from heaven to those Western nations who were already the leaders of their era, strengthening their leadership, their confidence, their dominance over other peoples.

The camera lies all the time; lies 24 times/second.

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

Every time the diaphragm winks, the camera repeats the question that now travels through cyberspace and invades, as a modern virus, the memories of machines, men and women. The question that history sets forth. The question which forces us to define ourselves and whose answer makes us human: On which side are you?

Modeling teaches you to be completely conscious of the camera. Acting is being totally unconscious of it.

The camera can be the most deadly weapon since the assassin's bullet. Or it can be the lotion of the heart.

There are days when everyone in the world looks like a Diane Arbus to me. She's a genius but her work is completely different to mine. But on those days I don't use my camera.

My co-stars call me selfish. They say you are only interested in yourself and what you are only interested is yourself and what you are doing in front of the camera. I reply, I can't help it; it's what got me where I am.

The key to my work is that I stopped, physically, to observe something. I raised my camera and recorded my observations.

Before Sept. 11, the idea that Americans would voluntarily agree to live their lives under the gaze of a network of biometric surveillance cameras, peering at them in government buildings, shopping malls, subways and stadiums, would have seemed unthinkable, a dystopian fantasy of a society that had surrendered privacy and anonymity.

Man cannot do without beauty, and this is what our era pretends to want to disregard.