 The imaging software with which Kalpakjian works allows him to generate architectural interiors in rich detail. Arcangel &amp; Davis do not require as much from their imaging software given that they are manipulating previously captured and scanned images. The process of scanning the photographs, just like the process involved in digital photography, involves sampling and quantization of a visual source; assigning an integer, from a finite range, to the average light-intensity measured across each small area of source-space corresponding to a cell in a grid. This process involves averaging and rounding up values, and it involves measurement, or sampling, of light intensities at (spatially and temporally) discrete intervals. Some, indeed many, of the differences in light intensity across the source image or scene (and at different times, in the case of moving imagery) are thereby dropped by the process of digital image-capture. Among some media theorists, this fact has led to deep suspicion of the digitally recorded image, prompting the feeling that the digital image is always a poor substitute for the analog. Current digital technologies for image-capture and display have such high rates of sampling frequency and resolution that the values dropped in quantization are well below the threshold of human perception. At the same time, Arcangel &amp; Davis’s Landscape Study #4 reminds us that digital artists may choose to exploit visible pixellation for particular artistic ends.