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.
It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.
When I'm about ready to press the cable release on the View camera, I've tried to anticipate some of the challenges I'm going to encounter in the darkroom.
I started out making skateboard videos. Soon, it dawned on me I just wasn't that great at skateboarding. So I put down the skateboard and just kept going with the camera.
My preference is that, that day when someone sticks a tripod in front of you with a camera on the top, it is not day one.
Every camera shoots horizontal, right? So we're all super used to framing things with lots of horizontal room. We've seen this new wave of Snapchat stories and Instagram stories where people are actually framing for and recording in vertical. Whether it's better or not is debatable.
Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child.
With 'Nobody Knows,' I consciously set out to make a fiction film, which is a different approach from 'Distance,' but I still applied a lot of the things I learned from making 'Distance': for example, how to use the camera in relation to the children and how to create the right atmosphere on set.
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.
I grew up around horses, but acting and riding on camera is a whole different thing.
The digital camera is a great invention because it allows us to reminisce. Instantly.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
I prefer directing to acting. There is huge freedom that comes from being behind the camera. It brings a lot of responsibilities as well but is intensely rewarding.
I want more girls to be able to see themselves behind the camera creating images we all enjoy, and I want to call attention to the fact that women directors are here all over the world.
I think I'll always prefer theater to working in front of the camera. It seems a more distilled form of the craft.
I was so used to documentary filming, where it's one take. You can't really say, 'Make that elephant charge again!' And you talk to the camera. With movie filming, you're talking to someone else.
I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.
I was known as a dogged, unflappable live reporter, the kind who runs barefoot to the camera, high heels in one hand, notebook in the other.
I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.
Being in the camera's eye is like stepping into a dream world, one that is often more interesting than real life.