Integrating Virtual Elements

This will be my first entry on the subject of integrating 3D imaging into fine art. This is a broad subject in an early stage of evolution. For the moment I will touch on the issue of its legitimacy. My involvement with photography began after artists such as Robert Frank, Walker Evans, and many others, had gained notoriety for photography that transcended its utilitarian roots. However, the issue of its legitimacy, as an art form, continued long after its aesthetic criteria was established. I’ve made it clear on this website that, “I don't believe in the purity of one process, or material, over another”[1]. As such I’m not going to exert any energy proving to anyone that 3D imaging is any more, or less, legitimate as a medium than any other. After all, we don’t define painting strictly by its application to, say, advertising. Rather we view it as fine art when it’s used with that intention. At this moment in history 3D imaging is primarily used by “gamers,” illustrators, and film makers. That’s because the steep learning curve, and the expense of the equipment necessary to produce it, limits access. It was the same issue when I got involved with digital imaging in the early ’90’s. Much like digital photography, 3D imaging will slowly find its way into the tool box of artists as they discover its limitless possibilities. Personally, I didn’t want to wait for it to be “blessed” by the masses.