Hockney Character Portrait Project

David Hockney  ” Joiner” Photographs (documentary video link)

He was originally a painter in the 60’s

However, in the 80’s he switched to taking picture, because he felt like making painting was not telling the whole story

Pablo Picasso a painter in the 20th century, he style was cubism. Like Picasso Hockney takes multiple photographs of  one subject with a lot of small areas and joins them together .

Assignment: Take character portraits. This is about rethinking about what you know about taking portraits. This is about deconstruction.

When approaching the assignment you can take it as a joiner photograph or the “grid” / “Polaroid” photograph

Hockney:

  • Shoots with color film
  • Uses every frame
  • Shot in color
  • Portraits, still-life and landscapes

Photo Class  students:

  • Digital or color film
  • 24 frames
  • Shooting in color
  • Allowed to take pictures inside BUT with caution due to flash
  • Only allowed to work with portraits

Guidelines

  • 24 exposure in color
  • Consider using props, location
  • Must have an exaggerated and large focal point (eye level and zoom)
  • The photographer must connect with the object
  • Irony is an awesome photographic tool
  • Direct your shoot

Hockney Inspired Photography project Handout

Hockney Brainstorming worksheet

Click here for hockney samples

Compare and Contrast Compositional devices used in Photography and Video

While watching this video create a t-chart in your sketchbook.

On one side, list compositional devices we discussed so far in photography.  On the opposite side, list compositional devices we have not yet discussed.

Save space in the area below the chart to list three interesting facts from the video.

 

Mastering Composition + Cinematography with Will Smith

Iconic Photos

We recognize iconic photos (even if we’ve never studied them in art class) through:

History Books

English Books

Appropriation in other media forms (ex. Cartoons and memes)

They are part of our cultural fabric.

Eisenstadt                                  Lange

 

 

 

 

 

 

 

Move It! – Compositional Devices

Today we discussed how moving the focal point out of the center of the composition can lead to the creation of more interesting photographs.  Three compositional devices discussed were:

Rule of Thirds (dividing the total composition into 3rds and aligning focal point on these imaginary line)

Golden Triangle (aligning focal points on diagonal lines)

 

 

Golden Ratio (based on the Fibonacci Sequence)

Some examples:

Portrait Photography/ Golden Ratios, Golden Triangle, Golden Spiral

(Note: Golden Spiral refers to Golden Ratio composition)

Made Ya Look!

e a group critique using the guiding questions below:

1. What drew you to the photo?  Consider: subject, composition and/or story

2. What elements of art (ex. line, texture. value, space) and principles of design (repetition, balance, emphasis, proportion/scale, contrast) are most important in the selected photo?  Why?

3. Where is the photographer relative to the subject? Why is that important?

Getting Artsy

On our first shoot of the year, photography students are already getting “artsy!”

What we discovered this REALLY MEANS is BEING UNPREDICTABLE.

Here are some of the techniques they used:

-change the orientation of the camera (angle, look up, look down)

-change the location/position of the photographer (get closer)

-direct/stage the shoot

-focus on the main point of interest and let other things in the photo be blurry

Look Beyond Borders – Amnesty International 4 Minute Experiment

Inspired by this project, Photo students shot portraits today with a partner in the room that was someone they didn’t know.

They spent 2 minutes looking into each others eyes, followed by some time to talk to each other using the following guiding questions.

  • What the experience was like for you
  • How you feel in new situations where people don’t know you
  • How you think people perceive you
  • How you perceive yourself
  • One thing you wish people knew about you

After this intro activity, students took each others portraits.

 

When talking about the problem of refugees, we use dehumanised language, which reduces human tragedy to numbers and statistics. But this suffering concerns real people, who – just like us – have families, loved ones, friends; their own stories, dreams, goals… Only when you sit down opposite a specific person and look into their eyes, you no longer see an anonymous refugee, one of the migrants, and notice the human before you, just like yourself – loving, suffering, dreaming… 20 years ago, psychologist Arthur Aron discovered that 4 minutes of looking into each other’s eyes can bring people closer. Using this discovery, we decided to carry out a simple experiment, during which refugees and Europeans sat opposite each other and looked into each other’s eyes. Clearly, it is most important to give each other time to better understand and get to know each other. The experiment was conducted in Berlin: the city, which – first of all – is a symbol of overcoming the divisions, and secondly, seems to be the centre of the contemporary Europe. We wanted the movie created on the basis of the experiment to be as symbolic as possible – and to touch upon the general divisions between people. The experiment participants were ordinary people. The situations were not staged; we wanted to get natural, spontaneous reactions. The people sitting opposite each other had not known each other before and saw each other for the first time during the experiment. What is important, the refugees mostly came from Syria and had not been living in Europe for longer than a year.