 A digitally recorded image need not appear any less richly detailed or varied in color than an analog image. All the same, in the terms of D. N. Rodowick, whereas the analog photograph is an “isomorphic transcription” of its subject, a digital photograph is a “data-output”, with a symbolically-mediated link to its subject (Rodowick 2007: 117–8). This ontological divide—described by William J. Mitchell as a “sudden and decisive rupture” in the history of photography (1994: 59), is then assumed to have aesthetic implications: Rodowick insists that the “discontinuities” in digital information “produce perceptual or aesthetic effects”. Despite this insistence, however, Rodowick goes on to acknowledge that, with enough resolution, “a digital photograph can simulate the look of a continuously produced analogical image”. This concession would seem to work against any attempt to identify the aesthetic effects of pixellation, even if “the pixel grid remains in the logical structure of the image” (Rodowick 2007: 119). But if we are to interpret Rodowick charitably, he could be implying that ontology at least partly determines appropriate appreciation; even if a digital photograph can look just like an analog photograph, its (known) digital status affects which of its perceptible features are aesthetically relevant and how we appropriately engage with them.