Hi, artist here showing up a little late. Working in 4x5 was a reluctant choice at first, as I had little experience with it at the time, but had advantages. The edges of the negative make for a visual cue to the straightening in addition to the buildings. Rise/fall and rear tilt helped get the ideal angle on the tree so that the background structures are square, and in shots where I'm close to the tree, like the W. Hastings one, I'm using front tilt to get part of the tree in focus and also part of the building, which serves to make both the subject.
I think beginning and ending in the analog space (these are silver gelatin prints) make the compulsive ordering -- which feels so digital -- more disruptive than they might be in an image that reads as digital already. They are paired with my Dither Studies, which similarly deal with the computational in an analog medium (acrylic paint), in a show up now with my gallery https://higherpictures.com
I think beginning and ending in the analog space (these are silver gelatin prints) make the compulsive ordering -- which feels so digital -- more disruptive than they might be in an image that reads as digital already. They are paired with my Dither Studies, which similarly deal with the computational in an analog medium (acrylic paint), in a show up now with my gallery https://higherpictures.com