Joiner Advert ford

these are just some screen shots of the ford fiesta advert with the joiners used.

Post Options

what is a joiner, how to do a joiner image

Multi-viewpoints from a single point in space.

This is the most obvious and common joiner. You stand in one place and take photos all around you. With a ‘panorama’ you simply swivel and take from left to right or vice versa. To record a greater field of vision you work both up and down and across.
Consider this rather intimate one by Hockney of his mother out visiting a ruined abbey on a rainy day:

Study it a little. At head height is the abbey. Just below that is the line of his mother’s head as she rests on a grave. It swings down to his feet – A shade more than 90° top to bottom. He probably shot off two rolls of film (between 70 and 80 photos) and stopped when he finished the second roll.

Point 1. Getting it all. Around her head there is a bit of confusion – her head and the gravestones would be focused differently as well as having issues of parallax (the relationship of things at varying distances to the observer are out of whack to each other as you move your camera from one point to the next, if that makes sense). So he had to chose between items in focus and out of focus as well as which fitted best for continuity’s sake. The small (brown) gap is when you haven’t overlapped enough to get the whole of your field of vision – this is always complicated by ill fitting parts/ figures moving /a poor photograph/parallax/inattention/re-arranging parts and a dozen more things.

Point 2. Foreground and Background. There is always an oddity in the way the far away items pan compared to the things close up. You think you are covering the same area but when you put them together the foreground (the area closest) is always at a different scale to the background. Things CAN NEVER FIT PROPERLY. Taking photos of things far away and then close up we lose our sense of how things fit, how they relate to one another. Seriously, do it yourself and find out. You cannot imagine the result. Hence the fan shape and the conscious choice to leave a gap on the right (where the stone Mrs Hockney sits on has been ‘lowered’ considerably) to allow for her whole frame on the left to be shown consecutively and the stone be placed in relation to her rather than the tomb above it.

Point 3. The lens. I feel I ought to say that this is not taken with a wide angle lens. Most handy digital cameras nowadays have a default setting that is different from the old 50mm standard of SLR cameras (which is approximately what the eye sees normally). One of the reasons there are so many photographs here is because the field of vision of the camera lens isn’t so great. It may even be taken with a slight ‘magnification’ which you can do with an adjustable lens (a 28-80mm lens for example, that goes from a wide angle to, well, a telephoto.)

Point 5. Variations in exposure in sky. The obvious variation is in the upper section. If you take a photo of something with a little bit of sky and lots of buildings or land this usually means a light sky with little detail. More sky in the picture means an adjustment in exposure and more detail (i.e. darker) in the sky. As the pictures move up the sky gets darker. This is further compounded if you are rotating left and right, particularly on a sunny day. You might not notice it with the naked eye which has an iris that automatically adjusts the light for us, but the colour of the sky varies at every point, particularly say when looking near the sun and the opposite direction to the sun. In separate photos they vary in both tone and colour. Also, due to the way the light goes through a lens and onto a photograph, there can be variations at the edges of a photo caused ‘mechanically’. This is more obvious the wider angle the lens.

Point 6. Exposure and framing. We can see how the exposure changes in the colour of the raincoat as well as the tombstone. Photographing parts of one thing light and one thing dark always lead to a lack of detail somewhere. Best your individual photos include just up to the edge of an item but do both sides separately – e.g. do the dark item with only a little of the light item showing, then do the same for the light item so you get a decent exposure on both. If you are fitting together as Hockney does here it gives you a choice of images. If you are digitally marrying them it will give you a clean edge to work to on one side or the other.

Point 7. You never take enough photos. Hence the gaps. Hockney most likely got home and put these together and wished he had more photos to work with. There are usually gaps and dud photos. It used to be more an issue when using rolls of film. I would be very careful and spare with the photos I took. With digital cameras came the opportunity to take hundreds at a time. No need to skimp (but you probably will anyway.). Yes, too many can be very confusing. But remember it is usually impossible to go back and take the extra photos if you change your mind.

Point 8. Proportion and perspective. If you had taken this yourself you might have imagined the mum’s head to be bigger when you put it together. That’s because we think in human terms in these things. No. The grass somehow becomes a big deal and you were only taking it to get to your feet. And her feet seem so small and distant as perspective suddenly swoops away from you. Joiners are an exercise in learning how the eye and the brain ‘really’ see the world. Emphasis changes. Our newly discovered field of vision dwarfs our personal priorities of the scene, pushes people away, and makes a big deal of the spaces in between.

Point 9. The Whole Scene? You can’t get the ‘whole’ scene.  You have to stop somewhere, you have to select some things and leave others out. But where do you stop? Where is the best place to have an edge? There is no easy answer. Not for this scene at least which clearly leaves things undiscovered. Could he have included the edge of the top left grave? Or the right hand portion of the tombstone his mum sits on? Add to that the fact if you take photos you often feel obliged to include them rather than edit them out for the sake of a better composition and…what is the solution. Well, there is one that can work. Fill out to as far as you can go and make a square or rectangle of them. As in this more famous one by Hockney of Pear Blossom Highway shown below. Otherwise, it is the nature of the joiner to appear selective, incomplete.

Point 10. Meaning and Narrative. By Hockney standards My Mother, Bolton Abbey is pretty ordinary, taken on the fly. However there is enough to build a narrative of interest. He views the ruins of the abbey they are visiting, his mother’s thoughtful face on a dreary day sitting on a tombstone to reveal interpretations of mortality etc., and then ‘signs’ the photo with his own feet. It is a personal record and a very touching one. A loving son with his elderly mum worrying about the time he won’t have her. OR: it is an observation of an elderly person thinking of things that have passed. OR...but you get the idea. Some subjects are better at carrying certain meanings than others. Joiner photos can re-emphasize that personal element however that makes the normal photograph's handling appear glossy and slick in comparison. Amemento mori rarely fails.

                                          . . . . . . . . . . .

what is a montage

The term “montage” is used in three different ways. A photomontage is a composite image produced by blending multiple images to create a fully realized whole. A film or televisionmontage involves a sequence of shots which have been edited to follow each other in rapid succession; one of the most famous examples of a film montage is probably that used in theRocky films. A radio montage is similar to a film montage, except that it uses sounds rather than images.

In the sense of a photomontage, the art of making a montage is almost as old as the medium itself. Early photographers combined multiple images to achieve desired artistic effects or looks, and artists picked up the idea, using photomontage to create a variety of scenes. One advantage of photomontage is that it can be used to juxtapose or overlay images which could not be seen together in real life, adding a note of surreality to the finished image. For example, a simple photomontage might be made by placing an image of Isaac Newton inside the International Space Station, making a commentary on advances in the sciences.

The advertising industry relies heavily on photomontage to produce images for campaigns. Editing together multiple images, an advertiser can evoke a specific mood or feel with an advertisement which might not be possible with a single straight image.

What is a montage?

One definition reads:- An artwork comprising of portions of various existing images such as photographs or prints and arranged so that they join, overlap or blend to create a new image.

See examples below.

All photography, montage work and framing by Borderpics. A commission for a client as a birthday present. If you're struggling for ideas for a present or gift, why not consider something unique, personal and very special? A montage can be made from a variety of images taken by Borderpics or if you have photographs or documents in your possession, they can be scanned or copied for use. See below for other montage ideas.

 

The montage depicted above was created from several photographs taken at a local event. Montage work is a speciality from Borderpics and is a photographic service available from a limited number of photographers and photo finishers.

Find out how this fine art montage was made - click here

MONTAGE PRODUCTION / MONTAGE PHOTO'S

A montage is the ideal way to combine several photographs into one complete image rather than simply display a collection or series of individual photographs.  

WHAT IF I DON'T HAVE SUITABLE PHOTOGRAPHS?

If you feel you don't have enough prints or images, why not commission Borderpics to capture some for you. This is an ideal opportunity to capture images specifically with a montage in mind. A commission can include photographing objects / items / people or scanning existing photographs to create a montage of your choice.

You could have a montage produced from your own digital images or from your own printed photographs which would be scanned leaving the originals intact and unharmed.

LOCATION PHOTOGRAPHY

As an option, I can visit a location of your choice, take a series of photographs including house, car, people, landscape, buildings etc.

The finished work can be printed to any size, supplied as a photograph, laminated on board or provided complete with a quality frame selected to match the style and colours of the finished work.

A MONTAGE - THE IDEAL GIFT

A montage skilfully compiled and presented can depict an event, a family, a hobby, or a complete lifetime. It is a unique and personal item that makes an ideal gift for a special occasion such as a wedding, anniversary, or Christmas present. A montage carefully compiled can be a unique and personal gift to be treasured and admired - after all, what do you give someone who has everything?

See below for more montage photos but consider the following ideas for gifts; wedding photographs, christenings, your pets, holiday memories, special birthdays, anniversaries, hobbies, collections, school years, family tree, sports teams and trophies.

Example below created from 5 separate photographs. click the pic to see how ;-)

Above is an example of taking 5 separate photos, stripping away the backgrounds and creating a new photograph of all 5 subjects complete with a new background. The photographs were taken at different times and locations. These photos were supplied on CD and some were only 450K in size. I can work from digital images on CD, emailed files, or original prints sent by post.

Click on the image to see how these photographs were combined to create this montage.

WEDDINGS AND WEDDING ALBUMS

Photographs taken on your special day whether by Borderpics or another photographer can be used to create a unique and personal montage. The pages in your finished wedding album can be photographed or scanned (copied) and a montage created in colour or mono.

The montage photo below was created from four separate photographs, the couple (two separate photos), the chapel and the flowers with candles.

 

Christenings -A lifetime memory showing several generations
Your Pets -Several images can be blended together, a perfect gift

Holiday Memories -Have that special one-off holiday represented as a montage, display in your own home as a constant reminder
Special Birthdays -
18th, 21st, 30th, 40th, 50th etc

Your car or prized possession can be blended with a background or image of your choice. See the montage photograph below.

A montage created from the three images below and some tarmac

Anniversaries -
An ideal present, unique and personal

Hobbies / collections / pastimes -
Proudly display your achievements. Any object, any size can be photographed and included in the finished montage.

School Years -
Bring back the memories. Display a selection of photographs taken over the years in one image.

(Above montage photograph is an actual photo of the framed print presented to Jedburgh Grammar School.)

Friends Reunited-
Group them all together and send a copy to them all. Include your school years or celebrations / places visited.

Team Montages -
Include your team line-up and individual action shots including your home ground.

Please note! The example below is not a montage in the real sense and some companies depict this as a montage service. This type of work is simpler and easier to complete as you are not sectioning off (removing backgrounds) images and very little is required in terms of creativity for  a balanced composition. Do not pay over the odds for this more basic service from other suppliers. Similar examples often include feathered edges to the photographs or simply overlay the photographs on top of each other.

edits,,, joiners :D

this is one of my third edits, my first and second edit didn't show on blogger and then it was not on my desktop, so i made some more, and i think they came out a lot better then the first ones, mainly because i didn't no how to do this work at the beginning, so it was something new i had to try.

screen shots of how i made it smaller and got it onto the web.

i took some small screen shots some pictures to show how i made it smaller and how i made it the right size to get onto the internet.

i picked the nicest looking image so it would be small enough and so it would look appealing.

i then saved it in this way so i could put it onto the web.

photomontage research

this picture freaks me out a little because i don't like the different eyes looking out of the picture, and i like like some of the unhealthy looking eyes on the image, i like how they are all different colours and different sizes etc.

i like how they haven't used that many different squares and different shapes to make up on big image, and how they have just used some big medium sized and different shapes to cover and take over the main image, and how they have a slight change in tone and contrast and how they aren't in the perfect place that matched up in the image so you can tell there is a change in the main image.

i like how this image makes up one main image, but that the main image is blurred and out of focus, and how you can see the image properly.

i really like how there are a load of smaller pictures of animals making up a big image of some writing that says grand illusion, and how it looks a little 3d in the image.

this picture really creeps me out because of the old mans right eye and how it is all red and evil.

i like how on this image one side slowly changes colour to mould with the other side of the colours, and how some of the boxes are just colours and are not just pictures.

i really like how there are loads of different images making up a big image of a penguin, and how the smaller images used to make the bigger image are all light and a cool colour.

Joiners research

Cubism, Joiners and The Multiple Viewpoint

David Hockney 'Mr & Mrs Clark and Percy' 1970-72

How do you see the world? Look around you - do you see the scene in front of you as a whole scene, a neat little square with every thing visible at once - just like a photograph or painting? Or do you see a variety of elements and fragments? For example if you look at a person in a room do your eyes see the whole or do your eyes flicker between different parts of the scene - from......

a fraction of the persons face...

..to their hand resting...

...to a part of the ceiling.

Then does your brain piece all these elements together to create the whole scene...

This is probably a closer description of how we see the world - from multiple viewpoints that are then pieced together by our mind. In this joiner by David Hockney he has tried to create this effect out of 24 Polaroid prints. He did this because he was interested in how we see and depict space and time. His is interested in how we turn a 3 dimensional world into a 2 dimensional image, how perspective is used in western art and how space is treated differently in non-western art. He did not particularly make joiners because he liked the novel effect of using photographs in this way. However, he did like the way this technique allowed the viewer to read space. He sometimes laid the images out in a neat grid.

and sometimes Hockney would overlap the images to create a whole scene out of smaller fragments.

David Hockney 'Pearblossom Highway, 11th to 18th April 1986 No.2'

This is one of Hockney's most famous Joiners of an American Highway. This image is made out of thousands of photographs and is almost 2 meters high by 3 meters wide. When seen in real life your eyes can explore it from corner to corner.

From the rubbish on the floor...

.. to the horizon.

Hockney would have had to bend down to photograph the floor, climb up ladders to photograph the street signs and walk down the highway to photograph the horizon. All this took him 8 days so he did not only warped space and distance but also showed the passing of time in one image. The image also showed the scene from  multiple viewpoints - just like way we see the world.

David Hockney 'The Desk, July 1st 1984'

Hockney's first love and main medium is drawing and painting, not photography. He is fascinated in how we make images and in the history of image making. To understand how Hockney, a painter, is as famous for his joiners we need to look at his influences.

Certain joiners hold clues to his thinking. In this joiner by Hockney he has photographed the desk from multiple viewpoints warping time and space. On the desk is a book and the book is open on a page that shows this picture by Pablo Picasso -

Pablo Picasso 'Guitar' 1913

The image is by Pablo Picasso and it is a picture of a guitar. He has abstracted the image as if it has been seen from multiple viewpoints and so the guitar itself seems fractured. Segments of the 'Guitar' are cut from a variety of materials - a piece of old wall paper, a scrap of cardboard and a circle cut out of newspaper. This is an example of Picasso's and George Braque's Synthetic Cubism and shows a break away from traditional mediums in western art. How did Picasso get to this stage?

Picasso 'First Communion' 1895/96

When we think of Picasso we think of abstract faces and forms. People who do not like art use Picasso as an example of why Modern art has lost its way. They might say "It looks like a child has done it" or "I could do better with my eyes closed" - and they would be half right. Picasso spent a lifetime questioning art and western aesthetics traditions. When he was fourteen he painted this image above of his sisters first communion. He could have and spent the rest of his life painting the world as he saw it and continuing the traditions he had learnt - becoming an esteemed member of the Academy. However, airplanes were in the air, the first cars were on the street and a new century was on the horizon. Like any self respecting fourteen year old he wanted to make a difference, to rebel, to question and be remembered. So he helped to reinvent and revolutionise art - that is why we remember him.

'The critics say I draw like a child. When I was a child I drew like Raphael. It took me my whole life to draw like a child.' 

Pablo Picasso

To understand why Picasso went from a realistic painting style to a style people could describe as abstract you have to look at his influences.

Paul Cezanne 'The Card Players' 1890-1892

In 1907 there was a retrospective exhibition of work by Paul Cezanne. Picasso and George Braque both saw and were both influenced by Cezanne. Cezanne was a Post-Impressionist who was fascinated how the three dimensional world could be describes by paint as a two dimensional image.

Paul Cezanne 'Still life with plaster cupid' 1895

At first glance Cezanne'sCezanne abandoned traditional perspective and the table appears to buckle, as if viewed from shifting angles.

Braque and Picasso were influenced by Cezanne's distortion of western perspective. They were also  becoming increasingly aware of other alternatives to Western tradition - the art of Africa challenged Western art's ideas of naturalism and beauty.

Pablo Picasso 'Les Demoiselles d'Avignon' 1907

You can see elements of African art in what is considered to be the first Cubist painting - Picasso's 1907's 'Les Demoiselles d'Avignon'. Its collapse of perspective and combination of geometric shapes and 'primitive' styles (influenced by Iberian sculpture and African art) were a reinvention of the possibilities of art. Broken, jagged, intersecting lines dominate the picture, making the eye leap from one jutting form to the next. The fusion of figures and background was inspired by Cezanne's 'Bathers' (1894-1905) painting. Picasso looked to the past but influenced the future.

George Braque 'Pair of Banderillas' 1911

Picasso collaborated with George Braque to create Analytical cubism. At this time Braque and Picasso's work was very similar - they worked from the subject but using different viewpoints, overlapping planes,   a similar earthy colour palette and creating a shallow pictorial space. Although cubism seems abstract it is based on life and tries to capture the truth - in many ways it could be the most realistic way to paint an image.

Picasso 'Portrait of Ambroise Vollard' 1910

This is Picasso's portrait of the art dealer Ambroise Vollard who championed and was painted by Cezanne (in 1899). Picasso would claim that this is a more truthful portrait than a traditional approach. The image is fractured and made up of geometric planes - like a piece of broken glass. Vollards bald head explodes and is elongated, his downcast eyes seem closed and his features are merely suggested. The whole image has a similar hue - flesh tones, browns, greens and blues. Picasso would move on from cubism (though a stylised version of it can be seen in his later works) - but ultimately Cubism is his key contribution to art.

David Hockney 'Mother I, Yorkshire Moors, August 1985 No.1' 1985

Which brings us back to Hockney. The link between Cezanne's, Picasso's and Braque's fractured multiple viewpoints and Hockney's use of joiners can be seen clearly in this joiner of his mother. Like the portrait of Vollard we can see his mothers face from the front, the left hand side and the right hand side. This is not an abstract approach - this is how we might see Hockney's mothers face if she was in front of us.

Cezanne influenced Picasso -

Picasso influenced Hockney's Joiners -

and Hockney's Joiners influenced many contemporary artist.

Soundtrack Album artwork for the film 'Dancer in the Dark' (2000) dir. Lars von Trier

'Source Code' movie poster

The fractured nature of cubism changed art but it is also seen today in common commercial images. In the bottom poster for the film 'Source Code' the figure is broken up into small fractured shards as if he is disintegrating. The films plot involves a fractured storyline where the main character lives through same 8 minutes of time. The main characters confusion and the broken timeline is reflected in this kinetic image.

Gordon Magnin

Marianne Faithful's version of a portrait by Rankin (from 'Destroy Rankin')

In a collaborative project called 'Destroy Rankin' musicians have 'Destroyed or reinterpreted portraits of themselves taken by Rankin. Rankin takes the original photograph but the final image is, ultimately, a self portrait. This image by Marianna Faithful has the same fractured feel as Picasso and Hockney.

This album cover design for Primal Screams 'Vanishing Point' has a cubist feel mixed with the feel of a Joiner.

Daniel Crooks

Daniel Crooks - 'Portrait #1 (Self), Portrait #2 (Chris), Portrait #3 (Chris)'  2007

Daniel Crooks 'Pan No.8' 2010 (HD video)

Daniel Crooks 'Static No.12'(seek stillness in movement) 2009-2010 (video)

The contemporary artist Daniel Crooks' work takes the idea of multiple viewpoints and uses digital media to playfully explore this theme. He uses digitally video to chop up, warp or blends images - creating distorted figures that seem to have been stretched by using a slow shutter speed or a photocopier. The images feel like they distort time and space and in this respect relate to the work of the Futurist's (an early 20th Century movement that in some aspects was influenced by Cubism).

Sohei Nishino - Diorama Map London 2010

This Photographic joiner of the city of London is a patchwork of around 4,000 Black and White photographs by Japanese artist Sohei Nishino. Nishino has mapped out ten cities including London, Paris and New York City. Nishino describes the process as "re-imagining" a landscape and it begins with a month long walk through the city. He photographs different sections of a City on Black and White film. He then hand processes the images and assembles them using scissors and glue in his Tokyo Studio. In an age where photographs are consumed on glowing computer screens and not printed out Nishino makes large, physical objects assembled from photographs printed by himself. The images are linked to ancient maps that abstracted land and our modern world of google earth.

Sohei Nishino - Diorama Map London Detail

When the images are viewed 'in the flesh' you can explore the image as it is built up from hundreds of mini joiners. There are rivers and buildings but there are also tiny details that you could miss if you were in the city itself. Look closely and you will find faces in the crowd - chopped up looking like a miniature Vollard or Hockney's mother. Pigeons on roofs are also there - all the aspects of the complex  modern city are there waiting to be discovered by the viewer.

Sohei Nishino - Diorama Map New York

You can watch Nishino make one of his Diorama Maps here.

Thomas Kellner

Thomas Kellner creates his joiners directly on the film. He photographs the subject in a specific order so when he lays the negative strips out they form a joiner. Partly by design and partly by their nature the images are chaotic and a straight forward building becomes an abstract cubist piece of architecture.

Frank O Gehry - Walt Disney Concert Hall

Makoto Sei Watanabe - K Museum

Thomas Kellner - Tate Modern

We consider photographs to tell the truth and show us the world. However, Kellner's images reinvent the original subject. He captures every part of the scene like an eye darting from one area to the next.

Bill Vazan

Like Kellner Bill Vazan creates grids of photographs that often form globe like shapes. These are achieved by standing in a central position and taking a number of shots (for example 3) at slightly different angles (eg. top, middle and bottom). He then slightly adjusts his position and repeats this. He keeps doing this until he has turned a full circle. Once the images are laid out a dome or globe effect is achieved.

King Alfred's Leisure Centre Slides 2006 (Collage from Dark Room Prints)

The above images were used using th TTV (Through The Viewfinder) technique (see more here)

Korean Gwon Osang uses hundred of photographs to create his three dimensional joiner sculptures.

Creating your own Joiner in the style of David Hockney is simple (to gain inspiration look here).