David Hockney's Pearblossom Hwy

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Where do artists get their ideas? What is perspective? How can photography be like drawing or painting? David Hockney touches on these and other issues while discussing the making of his photographic collage Pearblossom Hwy in this video.

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originally was meant to illustrate a story for Vanity Fair about humbert humbert looking for Lolita and it was about driving round the southwest and kind of what he called the monotony of the roads I'd agreed to do it and we came looking for a location as he were to do a road like this we needed a side road because I knew how complex he would be to do it and we eventually found this and I realised the signs were good the highway sign that there were one two three four signs quite close to each other actually then I think it was ten days shooting the pictures there's about 800 I hang on it in the end the whole scheme I I conceived he much too big I just gone off on another area really and I didn't mind when they said they wouldn't use it oh well I got something quite terrific out of it so I don't mind although it looks as though there's a central viewpoint the perspective does look traditional not one photograph is taken from that central viewpoint they're all taken from all over and you're looking down on the road you're looking up you're looking every direction I think I bet probably began with the stop sign meaning I'm a pelada I'm photographing very close to it every photograph here is taken close to something which is why you the viewer feel involved in it and feel close to it that's what does it you can see the cracks in the enamel you are actually literally close to everything you're moving around in it but I mean I was aware that cameras do push you away I was trying to pull you in my photographic friend said he was a painting and I said he was photography do you in a sense one did paint the sky because you could decide on blues I would photograph the actual sky but of course in printing it can be done lighter darker so in a way I was making a choice of blue and in a way that's like a painter not like a photographer I think the sky is made up of perhaps 200 separate pieces and that sense I admit I made choices as you will now notice here I moved the trees from up there I could move things around when I first did collages I call it drawing with a camera I felt that's what you were doing like in drawing you make choices we don't all see the same things we don't all hear the same things either that's what artists tell us so that's what I keep trying to do anyway

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