Copyright Notice:
© 2025 D DeWitt Fulton. All rights reserved.
All photograph, images, and texts on this website, unless otherwise indicated are the exclusive property of D DeWitt Fulton (aka David D Fulton), The images, photographs, and texts are protected under the United States and international copyright laws.
All content provided on this website is owned by D DeWitt Fulton and is protected by copyright law. No image, photograph, or text may be copied, reproduced, modified, published, uploaded, downloaded, posted, transmitted, or distributed in any form or by any means without prior written permission from D DeWitt Fulton.
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Appropriation & Transformative Use Statement
Some works incorporate found or sourced imagery as the basis for new digital compositions. Each is materially altered to create a distinct expressive work, identified in captions as:
Title (Year) — Digital composition from sourced imagery. © D. DeWitt Fulton. Transformative Use.
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Appropriation & Transformative Use Statement
Some works incorporate found or sourced imagery as the basis for new digital compositions. Each is materially altered to create a distinct expressive work, identified in captions as:
Title (Year) — Digital composition from sourced imagery. © D. DeWitt Fulton. Transformative Use.
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While this portfolio represents my copyrighted work, I am open to considering donations of my photography to support worthy charitable causes. Please feel free to contact me to discuss potential collaborations for positive impact.
While this portfolio represents my copyrighted work, I am open to considering donations of my photography to support worthy charitable causes. Please feel free to contact me to discuss potential collaborations for positive impact.
AI Usage Statement
All of my work begins as a photograph, composed on site with a basic Canon DSLR using natural lighting and stored as a raw, CR2 digital file.
During image processing, I sometimes use AI like a quirky, unreliable brush—mainly for artifact cleanup, tonal balancing, and occasional compositing—never to invent scenes I didn’t witness. This sits in a long darkroom lineage—dodging, burning, toning, hand-retouching, solarization, multi-negative montage—from the Pictorialists and Stieglitz/Steichen to Adams’s Zone System and Uelsmann’s composites, distinct from journalistic “straight” photography. When AI use goes beyond routine retouching, I will say so.
All of my work begins as a photograph, composed on site with a basic Canon DSLR using natural lighting and stored as a raw, CR2 digital file.
During image processing, I sometimes use AI like a quirky, unreliable brush—mainly for artifact cleanup, tonal balancing, and occasional compositing—never to invent scenes I didn’t witness. This sits in a long darkroom lineage—dodging, burning, toning, hand-retouching, solarization, multi-negative montage—from the Pictorialists and Stieglitz/Steichen to Adams’s Zone System and Uelsmann’s composites, distinct from journalistic “straight” photography. When AI use goes beyond routine retouching, I will say so.