Allan Dwan Quotes

I sketch the faces upside down because it's like drawing from the left side of the brain or the right side of the brain. I never took an art lesson in my life.

A SEEING eye is better than three hundred blind men's: The eye can distinguish pearls from pebbles.

One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.

I quite frequently don't look through the camera, which is very close to being blind.

I photograph continuously, often without a good idea or strong feelings. During this time the photos are nearly all poor, but I believe they develop my seeing and help later on in other photos. I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.

The visual life is an enormous undertaking, practically unattainable.

It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.

How the visual world appears is important to me. I'm always aware of the light. I'm always aware of what I would call the 'deep composition.' Photography in the field is a process of creation, of thought and technique. But ultimately, it's an act of imaginatively seeing from within yourself.

We always think, 'Well, for a person who's blind, it must be an amazing, joyful miracle if by some chance their sight is restored to them.' Now, this may be true for blind people who lost their vision at a later age. It's rarely true for people who were born blind or who go blind at a very young age.

One must always draw, draw with the eyes, when one cannot draw with a pencil.

My years with failing vision have prompted me to learn about the nature of the eye and the incredible gift of sight, which I had always taken for granted until it began to slip away.

The painter who draws merely by practice and by eye, without any reason, is like a mirror which copies every thing placed in front of it without being conscious of their existence.

A writer should write with his eyes and a painter paint with his ears.

Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.

We're approaching things quite differently this time, but it will still sound like Marilyn Manson.

If Monsieur X spent an eternity studying treatises on optics, he would never paint 'La Grande Jatte.'

No photographer is as good as the simplest camera.

I always would dream of making music videos. Whenever I make music, I always have a visual in my mind. I always see things.

In front of the camera I look and I see visually what I've created.

I take a pretty expansive view of craft, which is to say I don't see craft as just being technique - it's also process; subject; ideas and feelings; visions and dreams; the words that are put down and the words that are avoided.

I've always been super into photography and the visuals that support my music.

If you close one eye and imagine a bright light constantly in front of the other eye, your vision is compromised. You can only see about 30 percent of what you should be able to see.

The photographer's problem is to see clearly the limitations and at the same time the potential qualities of his medium, for it is precisely here that honesty no less than intensity of vision is the pre-requisite of a living expression. The fullest realization of this is accomplished without tricks of process or manipulation, through the use of straight photographic methods.

In common with other artists the photographer wants his finished print to convey to others his own response to his subject. In the fulfillment of this aim, his greatest asset is the directness of the process he employs. But this advantage can only be retained if he simplifies his equipment and technic to the minimum necessary, and keeps his approach from from all formula, art-dogma, rules and taboos. Only then can he be free to put his photographic sight to use in discovering and revealing the nature of the world he lives in.

A really intelligent man makes an indifferent painter. For painting requires a certain blindness, a partial refusal to be aware of all the options.