The Edges Make You See The Middle- David Hockney outtake 76/80

This video is an outtake from David Hockney: A Bigger Picture, an award-winning documentary by filmmaker Bruno Wollheim. Watch the full film here: vimeo.com/onde...
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A Masterclass tip on how to improve your photography from David Hockney, a photographer so good that he (more or less) gives it up. And a lesson in the limits of photography and cinema.
For more on the corner of the eye see also 65/80
Filmed over three years with unprecedented access, A Bigger Picture captures Britain’s most beloved painter at work. David Hockney’s return from California to paint the East Yorkshire landscape of his childhood - outside, in all weathers, through the seasons - culminates in the largest picture ever made outdoors. It’s an inspiring story of a painter in creative dialogue with nature and photography, and a revealing portrait of Britain’s most popular and celebrated artist.
“This wonderful film … will be of lasting importance for future generations who want to understand Hockney’s art.” Saturday Review, BBC Radio 4
“Bruno Wollheim’s portrait of this forthright magus is an unqualified, life-enhancing joy from start to finish.” - The Sunday Times
“This film may well be the best anyone will ever make about Hockney’s process.” - The Times, London.
“As gently hypnotic and fulfilling as one of Hockney’s own works.” - Time Out
“This impressive documentary is almost cinematic in its scope… both majestic and intimate” - The Observer
Watch the full documentary here: vimeo.com/2248...
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[@angelreading5098]

The artist wants his audience to participate in his work as a whole and not just see a tiny part of the framework as a small portion encapsulated with line,working within the restraints of a set size is easier on a large canvas in this respect,but practically speaking it is a luxury that most artists never aspire to,it all helps the immersion into the painting and disregarding the edges.

[@robertwalker951]

Ive swum in that pool with his dogs running around the edge ,Stanley and boogie

[@muttlee9195]

😍

[@andrecardon2141]

Key on the Hole, eyes on the window, to be in it... si simple

[@theronjerbell9528]

Is he saying good composition lies in using the edge of the picture to give us lead ins to the middleground?

[@colugapictures7529]

I think he's not so much talking about the middle-ground but composing a picture/photo with an eye to the edge rather than the centre

[@theronjerbell9528]

@@colugapictures7529 like in the grandcanyon painting where ypur eyes follow the edges around the picture? Does he have anh books or clips arpund where he talks about his landscape composition? Thanks for the previous reply too.

[@colugapictures7529]

@@theronjerbell9528 I can't think of any one book or clip. My doc here focusses on his landscape, but I'd say DH is never one to present a how-to. @t​

[@theronjerbell9528]

@@colugapictures7529 Sorry about the third question again here. So he is saying the edge of the picture is more of a focus then the middle? Using the grand canyon paintings as an example, in those paintings you follow the edges around the picture, with multiple 'vanishing points', and the middle grounds are stuffed into the foreground, all taken from different vantage points, and by doing this it that makes you look everywhere, like in real life?
Im sorry again but im am tranfixed by this idea. Theres an Australian Painter, Brett Whitley, he seems to do the same thing David does with multiple perspectives within a picture. Fascinating stuff.

[@colugapictures7529]

@@theronjerbell9528 Bear in mind that he's not so much talking about painting composition as photographic composition. The Grand Canyon is possibly an entirely different animal because of its size - and I've always considered something more conceived as a stage set.