A Quote by John Dyer

I paint what I see, not what a camera would see. — © John Dyer
I paint what I see, not what a camera would see.

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It's a hard job to get the camera to see it like you see it. Sometimes you have it just the way you want it, and then you look in the camera and you don't have the balance. The main thing is to get the camera to see it the way you see it.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither. At every point in nature there is something to see. My work contains similar possibilities for the changing focus of the eye.
I got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.
So I said to myself-I'll paint what I see-what the flower is to me but I'll paint it big and they will be surprised into taking the time to look at it-I will make even busy New Yorkers take time to see what I see of flowers.
If only someone else could paint what I see, it would be marvellous, because then I wouldn't have to paint at all.
If only someone else could paint what I see, it would be marvellous, because then I wouldnt have to paint at all.
It's a social media time, where you have YouTube and everything it's kind of like you see my career grow up on camera. But a lot of the things that you would see from artists would be behind the scenes that nobody would know about before, now it's all on display.
You see what you think, you see what you feel, you are what you see If with the camera you can make others see it - that is photography.
A student of James McNeill Whistler tells the great artist, 'I tend to paint what I see.' Whistler replies, 'Ah! The shock will come when you see what you paint!
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.
When I say: "I'm looking at you, I can see you", that means: "I can see you because I can't see what is behind you: I see you through the frame I am drawing. I can't see inside you". If I could see you from beneath or from behind, I would be God. I can see you because my back and my sides are blind. One can't even imagine what it would be like to see inside people.
I don't paint, and I can't draw, but I see things, I think, quite well, and I love being able to freeze things with the camera, particularly the children. Then I discovered with the camera that you can tell a whole story with just freezing a moment in reality. I find it a very good way, a very satisfying feeling.
People can see you on TV sloshing paint around with big four-inch brushes, and I learned to talk to camera in a friendly voice, not talking down to people, just explaining what I was doing. People like Picasso, Van Gogh, and Rembrandt did not have a weekly TV programme where people could see them painting.
Tracy and I were pretty good friends before '30 Rock.' The chemistry you see on camera - that's what it is. What you see on camera - that's just friends, so that's why it comes across so well on TV.
You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.
The camera is not only an extension of the eye but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye - visible.
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