Most photographers think that the rules of perspective are built into the very nature of photography, that it is not possible to change it at all. For me, it was a long process realizing that this does not have to be the case.
When making his two photocollages of Pearblossom Highway, David Hockney positioned himself closer to or more distant from his subjects, choosing which elements in the scene should be large and which should be small. By reassembling views from multiple perspectives, he applied ideas borrowed from Cubist painting to produce a rich, compound image that he considers "a panoramic assault on Renaissance one-point perspective."
Hockney made this work as a preparatory study for the final version, Pearblossom Hwy., 11 - 18th April 1986, #2, which measures approximately six-and-a-half by nine feet. Aside from scale, the principal differences between the two versions are the distortion of the stop sign in the foreground and the left and right edges of the composition.