People.
50 image collage of the same person
Here is my attempt at a collage of 50 images of the same person using different light source's and camera settings. The model is my wife.
Portrait in the style of another artist.
David Hockney.
David Hockney, OM CH (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer. He lives in Bridlington,East Riding of Yorkshire, and Kensington, London. Hockney maintains two residences in California, where he lived on and off for over 30 years: one in Nichols Canyon, Los Angeles, and an office and archives on Santa Monica Boulevard in West Hollywood.
An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.
Hockney made prints, portraits of friends, and stage designs for the Royal Court Theatre, Glyndebourne, La Scala and the Metropolitan Opera in New York City. Born with synesthesia, he sees synesthetic colours in response to musical stimuli. This does not show up in his painting or photography artwork, but is a common underlying principle in his designs for stage sets for ballet and opera—where he bases background colours and lighting on the colours he sees while listening to the piece's music.
Portraits.
Hockney painted portraits at different periods in his career. From 1968, and for the next few years he painted friends, lovers, and relatives just under lifesize and in pictures that depicted good likenesses of his subjects. Hockney's own presence is often implied, since the lines of perspective converge to suggest the artist's point of view. Hockney has repeatedly returned to the same subjects - his parents, artist Mo McDermott (Mo McDermott, 1976), various writers he has known, fashion designers Celia Birtwell and Ossie Clark (Mr and Mrs Clark and Percy, 1970–71), curator Henry Geldzahler, art dealer Nicholas Wilder, George Lawson and his ballet dancer lover, Wayne Sleep.
On arrival in California, Hockney changed from oil to acrylic paint, applying it as smooth flat and brilliant colour. In 1965, the print workshop Gemini G.E.L. approached him to create a series of lithographs with a Los Angeles theme. Hockney responded by creating a ready-made art collection.
The "joiners"
In the early 1980s, Hockney began to produce photo collages, which he called "joiners," first using Polaroid prints and subsequently 35mm, commercially-processed color prints. Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image. An early photomontage was of his mother. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney's major aims—discussing the way human vision works. Some pieces are landscapes, such as Pearblossom Highway #2,others portraits, such as Kasmin 1982, and My Mother, Bolton Abbey, 1982.
Between 1970 and 1986, he created photomontages, calling them joiners. He began this style of art by taking Polaroid photographs of one subject and arranging them into a grid layout. The subject moved while being photographed, so that the pieces show the movements of the subject from the camera's perspective. In later works, Hockney changed the technique, moving the camera around the subject.
Creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses. He did not like these photographs because they looked somewhat distorted. While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realized it created a narrative, as if the viewer moved through the room. He began to work more with photography after this discovery and stopped painting for a while to exclusively pursue this new technique. Frustrated with the limitations of photography and its 'one eyed' approach, however, he returned to painting.
Later work
In 1976, at Atelier Crommelynck, David Hockney created a portfolio of 20 etchings, The Blue Guitar: Etchings By David Hockney Who Was Inspired By Wallace Stevens Who Was Inspired By Pablo Picasso. The etchings refer to themes in a poem by Wallace Stevens, "The Man With The Blue Guitar". It was published by Petersburg Press in October 1977. That year, Petersburg also published a book, in which the images were accompanied by the poem's text.
Hockney was commissioned to design the cover and pages for the December 1985 issue of the French edition of Vogue. Consistent with his interest in cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) from different views, as if the eye had scanned her face diagonally.
In December 1985, Hockney used the Quantel Paintbox, a computer program that allowed the artist to sketch directly onto the screen. Using the program was similar to drawing on the PET filmfor prints, with which he had much experience. The resulting work was featured in a BBC series that profiled a number of artists.
His artwork was used on the cover of the 1989 British Telecom telephone directory for Bradford.
Hockney returned more frequently to Yorkshire in the 1990s, usually every three months, to visit his mother who died in 1999. He rarely stayed for more than two weeks until 1997, when his friend Jonathan Silver who was terminally ill encouraged him to capture the local surroundings. He did this at first with paintings based on memory, some from his boyhood. Hockney returned to Yorkshire for longer and longer stays, and by 2005 was painting the countryside en plein air. He set up residence and an immense redbrick seaside studio, a converted industrial workspace, in the seaside town of Bridlington, about 75 miles from where he was born. The oil paintings he produced after 2005 were influenced by his intensive studies in watercolor (for over a year in 2003–2004). He created paintings made of multiple smaller canvases—nine, 15 or more—placed together. To help him visualize work at that scale, he used digital photographic reproductions; each day's work was photographed, and Hockney generally took a photographic print home.
In June 2007, Hockney's largest painting, Bigger Trees Near Warter, which measures 15 feet by 40 feet, was hung in the Royal Academy's largest gallery in its annual Summer Exhibition. This work "is a monumental-scale view of a coppice in Hockney's native Yorkshire, between Bridlington and York. It was painted on 50 individual canvases, mostly working in situ, over five weeks last winter." In 2008, he donated it to the Tate Gallery in London, saying: "I thought if I'm going to give something to the Tate I want to give them something really good. It's going to be here for a while. I don't want to give things I'm not too proud of ... I thought this was a good painting because it's of England ... it seems like a good thing to do."
Since 2009, Hockney has painted hundreds of portraits, still lifes and landscapes using the Brushes iPhone and iPad application, often sending them to his friends. His show Fleurs fraîches (Fresh flowers) was held at La Fondation Pierre Bergé in Paris. A Fresh-Flowers exhibit opened in 2011 at the Royal Ontario Museum in Toronto, featuring more than 100 of his drawings on 25 iPads and 20 iPods. In late 2011, Hockney revisited California to paint Yosemite National Park on his iPad. For the season 2012–2013 in the Vienna State Opera he designed, on his iPad, a large scale picture (176 sqm) as part of the exhibition series Safety Curtain, conceived by museum in progress.
Set designs
Hockney's first opera designs, for Stravinsky's The Rake's Progress at the Glyndebourne Festival Opera in England in 1975 and The Magic Flute (1978) were painted drops. In 1981, he agreed to design sets and costumes for three 20th-century French works at the Metropolitan Opera House with the title Parade. The works were Parade, a ballet with music by Erik Satie; Les mamelles de Tirésias, an opera with libretto by Guillaume Apollinaire and music by Francis Poulenc, and L'enfant et les sortilèges, an opera with libretto by Colette and music by Maurice Ravel. The set for L'enfant et les sortilèges is a permanent installation at the Spalding House branch of the Honolulu Museum of Art. He designed sets for Puccini's Turandot in 1991 at the Chicago Lyric Operaand a Richard Strauss Die Frau ohne Schatten in 1992 at the Royal Opera House in London. In 1994, he designed costumes and scenery for twelve opera arias for the TV broadcast of Plácido Domingo's Operalia in Mexico City. Technical advances allowed him to become increasingly complex in model-making. At his studio he had a proscenium opening 6 feet (1.8 m) by 4 feet (1.2 m) in which he built sets in 1:8 scale. He also used a computerized setup that let him punch in and program lighting cues at will and synchronize them to a soundtrack of the music.
Below is a self portrait in the style of David Hockney. He calls this style Joiners as it is a number of images joined together. I didn't go for a straight copy, I went for my own interpretation, I thought I'd mix it up a bit.
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This is the contact sheet showing some of the photos I took that got me to my final image.
Here is an example of David Hockney's work. This is a self portrait joiner using film, I used a digital camera and a program called Picasa to stitch them together.
White balance experiment
We where asked to take some photos using different white balance with various light source's. We started with an industrial strip light witch is florescent, with the white balance set to tungsten, then to day light and we had to choose one that looked right, I went for flash white balance. Next we used the same white balance settings as with the florescent but with a tungsten light source. For this we used a Bowens lighting head, with just the beauty lamp. Finally we had to find a third light source of our own choosing, for this we used an LED light panel. The results are below. All of the images for this experiment are totally unedited.
This is the tungsten white balance with a florescent light source, hence the cold blue tone.
This image was shot at f/1.4, 1/100sec, ISO-100.
This is the day light white balance with a florescent light source, which gives the image a warmer tone.
This image was shot at f/1.4, 1/250sec, ISO-100.
For this image I selected the flash white balance which gives it a more neutral tone.
The image was shot at f/1.4, 1/200sec, ISO-100.
This image was shot using day light white balance and a tungsten light source, which gives it the warm glow.
The image was shot at f/1.4, 1/200sec, ISO-100.
This image was shot using the tungsten white balance and a tungsten light source giving it a neutral tone.
It was shot at f/1.4, 1/60sec, ISO-100.
For this image I selected the flash white balance which gave it a warn tone much the same as the day light white balance.
The image was shot at f/1.4, 1/1000sec, ISO-100.
This image was shot with tungsten white balance using an LED light panel, giving it a cold blue tone.
It was shot at f/1.4, 1/1000 sec, ISO-100.
The Human Condition.
The inner person.
Paint your perception of someones inner self on there outer self, was the brief for this lesson, using perception, interpretation and representation. I chose to paint Richard as The Riddler. On the outside Richard is a very polite, helpful and understanding person, but I think there is a more ruthless person lurking beneath the well mannered exterior he displays. He's not nasty or evil but if he's pushed beyond the limit I think he could talk you into a bad place, hence The Riddler.
I have made a lighting diagram for the set up I used. The gold reflector to the right of the diagram was actually above his head and the black one was in front of him facing the speed light on an angle from the floor to his chest, to prevent light spill.
I chose to use a speed light on a low light stand to shoot light up from below to give my image a more sinister look.
Above is the image I chose. Left is the original shot and the right is the same shot after going through Light Room.
For the Light Room post production, first of all I removed the zip tag from below his chin with the spot removal tool. I then cropped and straightened the image before I ramped up the green hue and lowered the blacks.
This is my attempt at recreating the same shot. As my original model wasn't available I had to use a substitute. Apart from being different people and no face paint on the left do these images look the same, as in lighting and position.
The left may be slightly darker in the eyes and a shadow on the right side of her face, this could b due to the long hair or maybe I just didn't get the light in just the right position.
Candid Photography
This week I looked at a web sight called The Humans of New York to get ideas for our candid task for this week. For this task I hung around on King William st in Blackburn and started to take photos of passers by. I looked for individuality and character and took about 200 shots, after editing I ended up with about 20.
Here are some of my final images.
I was surprised at how many people walk around with mobile phones in there hand are up to there ears.
Lucky Dip Recreation.
Who is the photographer? The photographer is Matthew Rolston. Rolston is an American photographer and a creative director, he was discovered by Andy Warhol through, Warhol's celebrity focused interview magazine.
A link to a review of a book by Matthew Rolston called Big Pictures: A book of photographs.
http://stocklandmartel.com/talent/matthew-rolston/photography
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