equally sharp, and can make their canvases as broad as they want, while photographers have the choose whether to focus on foreground or background, and are saddled with the perspective and corner distortions of wide-angle lenses.
By combining the various multi-exposure techniques to overcome these limitations you achieve an effect that many exhibition goers prompted to remark: that’s a painting! My colleague exhibitor, who had never seen this before, remarked that contemporary figurative painters who were, with their attention to details doing the exact opposite to what he was striving for, could not hope to produce anything approaching what my technique had achieved.