Camera Equipment Quotes

I never work with a screen. Other photographers have this black thing around, and they go back and look at it. I'd rather spend the time with the subject, photographing or discussing or talking, than staring at this thing. I'd rather look at what's going on.

My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.

I would love to have been a documentary filmmaker; I just didn't have the resources to do that.

When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.

I remember borrowing my mum's Instamatic 110 camera as a kid and doing still lifes of tennis balls and benches and thinking they were going to be something really amazing. They ended up being really bad.

Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.

I had an instamatic wind-on camera and remember buying the flashcubes and fixing on top of the frame. The flash credits were limited so you had to be careful not to waste any.

I really missed what I'd done on Rogers Cable, which was shooting and editing all my own stuff.

I was on the yearbook staff, so I would take out film cameras and Nikons and take photos around school and at sporting events and things like that. We had a darkroom as well. I just loved it. I also saved up for a video camera to video my friends and cut and paste the videos together and I gave them to all of my friends for graduation.

I have to have a working knowledge of light, and optics, film emulsions and their properties, and lenses, otherwise I can't create the shoots that are the vocabulary of the films. But it is not necessary for me to be a cameraman, I can hire a cameraman.

From the beginning, the camera and I were great friends. It loves me, and I love it.

Photography is pretty simple stuff. You just react to what you see, and take many, many pictures.

My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.

Some of my most special shooting experiences have been at weekends.

I don't really have a favorite camera. I use a Leica and Canon a lot. It depends, especially professionally, on the requirements. But my carry-around camera is a Leica.

Digital technology has thrown a closed shop wide open, and there are more people out there snapping away than ever before. Some of the pictures are bad, some of them are good, and many of them need some seasoning and direction.

I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.

I have very interesting hobbies like archeology and photography.

I'll always be an amateur photographer.

Anything involving the camera, you're passionate about. Because there's no movies without it.

Modern technology has taken the angst out of achieving the perfect shot. For me, the only thing that counts is the idea behind the image: what you want to see and what you're trying to say. The idea is crucial. You have to think of something you want to say and expand upon it.

Everybody's a filmmaker today.

We were studying at Newport Film School, and I found that the only way for me to make films - because you need people and you need equipment - was that I had to be a student.

My first experience with film was through a still camera. I would sit, very much against my will, with my father in the game reserve, watching some elephant or rhino or whatever, through a 400 millimeter lens and wait, and waiting and waiting.

I have a shot a lot of movies in Dubai.