(Louisiana channel - David Hocney: Photoshop is boring)
[David Hockney] The invention of photography
was an invention of chemicals
and in a way, chemical photography is now ended.
It lasted - what? - 160 years.
Now, nobody thought chemical photography would end.
Nobody predicts that, do they?
It ended - it certainly has ended now.
Kodak stopped making fixative about eight years ago, I think.
And the fixative was the invention.
Daguerre did it his way
and in England Fox Talbot, who was playing with cameras,
and meaning, seeing these images -
and remember, they saw them in colour: you always see them in colour;
they were surprised that the photograph was black and white
when they first came out -
but, he said to Sir John Herschel:
"How can I -- how can we fix this image?"
They could get it on paper, using silver
but it didn't last long.
And in fact, sir John Herschel said:
"Oh well, if you want to fix it, you need this, this and this"
and wrote out the formula for fixative
that was still being manufactured till eight years ago.
So now, we've now moved out of that period.
I will point out, I - in 1989, I was invited by Adobe, in Silicon Valley,
to the launch of Photoshop.
And they invited a few people for various reasons.
I tink I was invited because they'd seen the photo collage I'd done
of - of Pearblossom Highway.
And so they invited me and I went up with my assistant, Richard.
And I took my dogs as well.
They said - I saw it -
there are two things they don't like in Silicon Valley:
smokers and dogs.
I said "Well, you got to lump it,
I'm here and you'll have to do it."
But they were showing as well - we tried things
And when we were driving back to LA, I said
"Wow, that was all about drawing
and it's the end of chemical photography."
Because you can't do this with chemical photography.
It has to be digital for the Photoshop.
And I was a bit early, but nevertheless,
I could see that's what was coming.
The one-hour Photomat place was going to disappear
- that's what I had been using, things like that.
And it has implications that I began to see.
They've got bigger,
they're still there now, they're getting bigger.
In a way, I mean to say, useful thing, Photoshop
but I think it has made a lot of magazines look very similar,
rather boring.
It polishes photography, they put the highlights in,
take them blemishes away, I mean that sort of thing,
love it in Hollywood,
they all touch up things.
But I mean, it's also causing a kind of stale look
- to me, anyway, to me.
But that's why, if you need, you know,
even fashion magazines, thirty years ago,
would have quite a lot of drawings in them
so you got a different thing as you looked through pages.
But not many people draw now, so it's all photography
and I think, getting more and more boring because of it, I think.
I mean, I was - we were just in the Picasso show here, you know.
I was looking at that owl, that marvellous owl
and today, I pointed out, well,
some people just stuff a real owl and put it in a case.
It's not that interesting.
And I was explaining to my young friend
why Picasso's is so marvellous is
It isn't an owl, it's a human being looking at an owl.
It's an account of a human being looking at an owl.
So that's what thrills us.
There is more owlness there than in the stuffed owl.
If you find a way to solve something -
I was talking about the Spring, you know,
I'm working on that now in England
and how would you depict the arrival of Spring?
The arrival of Spring is too slow for a movie to catch it.
It moves too - it moves, but it moves too slowly
for the movie camera.
And it's also not that easy to photograph
because the very first signs of it is so subtle
the camera doesn't see them that well.
But if the human eye sees it, you can exaggerate a little
the first little green shoots coming up,
you emphasize the green.
The cameras can't - they're not that good on colour, really,
I mean, they don't see the subtle colours at all, actually.
It's OK, you know, on a beach, colour photography
but with greens, it's not that good, really,
even today it's not.
Even, I mean, when we use nine cameras,
and therefore we could use different exposures on each one,
we didn't get a bigger range of greens.
I know that, I mean I know about,
I know about technical things, about film and things.
But it's a -
peop-- you know,
not much is written often about these technical problems
they're technical problems.
You can overcome them but
if you're not taught about them much,
some people forget that they are problems
and how they have to be sorted out.
I've been dealing with the Winter in East Yorkshire.
It's a climate, just like this really, just over the water.
It's a very similar climate,
very similar horticulture and agriculture
I mean, the Spring is just beginning here, isn't it?
It's just beginning there.
And - but of course, you don't get Spring in Southern California,
not big anyway -
and I found there was more colour in the Winter,
that the road, this little road, is darkest of all
at the height of Summer
because all the leaves of - come over it, it's like a tunnel
and it's darker in it.
But I mean, you get in light coming in.
But that's its darkest.
It's at its lightest in the Winter if it snows,
because you get reflection from the ground.
And we filmed it with nine cameras,
I'm drawing it all the time as well.
My local doctor we're friendly with, you know,
because she is a pai-- an amateur painter,
and she comes to the studio
and I'm showing her the pictures.
And then we showed her the films.
And she said:
"God, I've never looked at this little street!"
And she said, next time she came, she said:
"You inspired us, David.
We drove down and took a long walk,
a darned long walk
after watching your films and those things."
And I said:
"Well, it's a lovely, it's a
- I'll tell you what's very nice about there:
it's a very, rather isolated bit of England.
It's very isolated partly because there's a wide river,
the Humber, to the South
and there are not many people there,
not many people live there,
it's agricultural, great one agricultural land
so they don't build on it much.
Not many people.
And we can - we painted in it, filmed in it,
nobody's - nobody there to stop you.
In L.A.! Oh, if you got out a camera in a car,
you'd have had to get permits,
you'd have to get police riding to protect you,
install lines [check]
Hollywood cops and things.
But in East Yorkshire, we come, we do it, nobody bothers us,
We're hanging on jeeps, you know.
I mean, actually, once JP and I,
we were going out painting with our canvasses
and you never see anybody out there,
and suddenly, aboard a Toyota truck
four policemen jump out and we got a ticket:
we hadn't put our seat belts on.
And OK, we were just not going far [check],
we were going to get out the canvas. [check]
And so we got the tickets.
One of the policemen is looking out of the window to me
and saying "You got to have the seatbelt,
death is lurking everywhere."
Well, I'm looking out of the window and I mean,
I mean at leaves coming on the trees,
the spring is coming out, and I say:
"Well, you know, life is lurking everywhere as well!" [laughs]
Anyway, we got the tickets,
we might put them in the exhibition, actually.
But we were going to paint, you know,
set up six canvasses.
Well, if they saw us with these cameras,
we'd have been taken out to jail, probably, I mean
because we were hanging on.
But we're not going very f--
I mean, we were going, you know, 10 miles an hour.
They'd leave it alone, probably,
but it was amusing that we got the ticket for the seatbelts.
I did tell them that I was not particularly into bondage, me:
I'm not, actually.
I don't like the seatbelts. [laughs]
A lot of people are into bondage -- I don't like --
and it's OK: good fun, sometimes.
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