SHOT FROM OVERHEAD.
LIGHT SOURCE; NATURAL LIGHT VIA WINDOWS, CLOUDY.
WINDOW LEFT.
WINDOW FRONT RIGHT.

LIGHT SOURCE; FLORESCENT LIGHT, BOUNCE OFF CEILING.
FLASHLIGHT DIRECT OVERHEAD.

LIGHT SOURCES; FLASHLIGHT, RIGHT FRONT.
FLORESCENT LIGHT, INDIRECT FILL, RIGHT.

LIGHT SOURCES; WINDOW LEFT, CLOUDY. FLASHLIGHT, RIGHT FRONT.

NATURAL LIGHT, CLOUDY, VIA WINDOWS. LIGHT SOURCE LEFT & FRONT RIGHT.

THIS PIECE SOMEWHAT CONFORMS TO THE TYPICAL FORMULA OF COMPOSITION.

ASSIGNMENT, WEEK 2; I HAVE CHOSEN MULTI-MEDIA ARTIST DAVID HOCKNEY AND BYZANTINE MOSAICS AS AN EXAMPLE OF VISUALLY BLENDING SMALL AND PERHAPS INSIGNIFICANT ELEMENTS OF COLOR, OR MACRO PHOTOS (AS IN THE CASE OF HOCKNEY'S WORK) THAT ARE UNSUPPORTED AS A WORK OF ART ON THEIR OWN. HOWEVER, WHEN VIEWED FROM A DISTANCE, THE MELANGE OF ELEMENTS FUSE INTO AN IMAGE THAT IN GENERAL MAKES SENSE. IN THE CASE OF HOCKNEY, I COULD ARGUE THAT HIS PHOTOGRAPHIC WORK COULD BE INTERPRETED AS A CUBISM PHOTO MONTAGE. HOCKNEY'S TECHNIQUE INCREASES THE OPTIONS OF CONVENTIONAL COMPOSITION RULES, UNLIKE THE 'FLAT' PREDICTABLE IMAGES THE BYZANTINES. AS WITH MOST WORKS OF ART PRODUCED PRIOR TO THE RENAISSANCE, THE 'PHOTOGRAPHIC ' STYLE HAD NOT COME INTO BEING. EVEN NOW WITH PHOTOGRAPHY WE LOOK FOR CERTAIN RULES TO BE MET IN ORDER TO BE ACCEPTABLED. THE FIRST IMAGE OF HOCKNEY SHOWN HERE BREAKS THE 'COMPOSTION' RULE. THE BYZANTINE MOSAIC SHOWS THE TYPICAL RESTRICTION OF COMPOSITITION ACCORDING TO MODERN STANDARDS. USING HOCKNEY'S APPROACH, ALL CONVENTIONAL ELEMENT CAN BE ACHEIVED OR DISREGARDED. OBVIOUSLY, THE HOCKNEY METHOD TAKES A BIT OF FORECASTING AND PLANNING. ALL OR NONE OF THE 'PHOTOGRAPHIC' COMPOSITION RULES MAY BE APPLIED. DAVID HOCKNEY'S WORK IS AN EXAMPLE OF THINKING OUT OF THE BOX.

A FEW FAVORITE PICS.