“4D” is the name I gave a digital manipulation process in which
I manually blend hundreds of exposures from different times of day into one unique composite.
What initially drew me to this process is the same feeling that caused early pictorialists to abandon representational,
“straight” photography. I wanted to access a higher level of control in order to express my own creative personality.
In a way, the 4D process is my response to the ongoing debate of photography’s artistic value.
For me the difference between fine art and a snapshot is a combination of control and intention.
By taking such a complex technical approach I am able to have much more control over my own creations,
choosing exactly how I want to present each scene to the viewer. As a visual artist,
I thrive on the freedom to selectively stitch every detail of a photograph to my liking.
The process can become extremely meticulous but equally rewarding.
Naturally, by having this much influence throughout the entire process,
the work has more of a personal touch similar to any handcrafted medium like drawing or painting.
Patience is key for this process because any light, color, or object that crosses into the frame has potential
to be included to the final image, but an image is never manipulated to the point of adding something that
was never actually there. Every detail of the final manipulated photo was Intentional, I can paint a scene
to look exactly the way I want it to. At the same time I can never predict what a 4D image will look like
while I'm taking it, even after seeing the day and the night shots. It's only once the images begin to merge
together in Photoshop that the blending possibilities are revealed. To me this balance of spontaneity and control
is what artistic photography is all about.