Bryan Singer Quotes

Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.

Perspective is a most subtle discovery in mathematical studies, for by means of lines it causes to appear distant that which is near, and large that which is small.

At a distance this fine oak seems to be of ordinary size. But if I place myself under its branches, the impression changes completely: I see it as big, and even terrifying in its bigness.

There are three aspects to perspective. The first has to do with how the size of objects seems to diminish according to distance: the second, the manner in which colors change the farther away they are from the eye; the third defines how objects ought to be finished less carefully the farther away they are.

The high-definition picture is still a perspective picture. That's the real problem, the perspective picture.

Photography sees surfaces, it doesn't see space. We see space but the camera doesn't.

What I aspire to is to have the viewer look directly at the subject, as if they're looking through a window at the real thing.

I paint what I see, not what a camera would see.

Shadows sometimes people don't see shadows. The Chinese of course never paint them in pictures, oriental art never deals with shadow. But I noticed these shadows and I knew it meant it was sunny.

Height, width, and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space.

I wanted to communicate what I had seen, so that others could see it.

Maybe because she's smaller than me she might look taller.

Cubism is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view.

My own eyes are no more than scouts on a preliminary search, for the camera's eye may entirely change my idea.

There is nothing as mysterious as a fact clearly described. I photograph to see what something will look like photographed.

The problem with filming something is that we struggle desperately to make three dimensions out of two dimensions. It can't be done.

I think the automation of vision is a much bigger deal than the invention of perspective.

Essentially, perspective is a form of abstraction. It simplifies the relationship between eye, brain and object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from what he sees. It makes a God of the spectator, who becomes the person on whom the whole world converges, the Unmoved Onlooker.

Actual space is intrinsically more powerful and specific than paint on a flat surface.

People think one-point and two-point perspective is how the world actually looks, but of course, it isn't. It's a convention.

Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull . Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).

A town, a landscape are when seen from afar a town and a landscape; but as one gets nearer, there are houses, trees, tiles leaves, grasses, ants, legs of ants and so on to infinity. All this is subsumed under the name of landscape.

May I repeat what I told you here: treat nature by means of the cylinder, the sphere, the cone, everything brought into proper perspective so that each side of an object or a plane is directed towards a central point. Lines parallel to the horizon give breadth... lines perpendicular to this horizon give depth. But nature for us men is more depth than surface, whence the need to introduce into our light vibrations, represented by the reds and yellows, a sufficient amount of blueness to give the feel of air.

I find it impossible to think of a picture save as a window, and my first concern about a window is to find out what it looks out on... and there is nothing I love so much as something which stretches away from me out of sight.

I never take pictures. Skies are much larger in reminiscences and my friends are much better-looking. Photos crop reality into little squares; instead, I have very good binoculars.