Hockney was fully aware of this mechanism when he made these works, which motivated him to make them in the first place:
> For his part, critics often got Hockney all wrong as well, misinterpreting the intensity of the ways he would presently be engaging photography—taking literally hundreds of thousands of photos, coming to feel that the Old Masters themselves had been in thrall to a similar optical aesthetic—as a celebration of the photographic over the painterly, and specifically the post-optical painterly, when in fact all along he’d been engaged in a rigorous critique of photography and the optical as “all right,” in his words, “if you don’t mind looking at the world from the point of view of a paralyzed cyclops, for a split second, but that’s not how the world really is.”
> For his part, critics often got Hockney all wrong as well, misinterpreting the intensity of the ways he would presently be engaging photography—taking literally hundreds of thousands of photos, coming to feel that the Old Masters themselves had been in thrall to a similar optical aesthetic—as a celebration of the photographic over the painterly, and specifically the post-optical painterly, when in fact all along he’d been engaged in a rigorous critique of photography and the optical as “all right,” in his words, “if you don’t mind looking at the world from the point of view of a paralyzed cyclops, for a split second, but that’s not how the world really is.”
http://www.believermag.com/issues/200811/?read=article_wesch...