I let the subject matter dictate the cropping whether it is square or a narrow rectangle. I move in the easel bands until the composition works best. The downside is that I have to cut my own mats for each print.
That is called grain. It is supposed to be there.
The way I see it, every camera implies a set of constraints. Rather than cropping to fit a vision, I tend to just try to fit the constraints of my camera. If it's the rolleiflex I look for square compositions. If it's 4x5, more rectangular. If 35mm - longer rectangles. If I ever get a pano back or format camera I'll start thinking of and looking for panoramic compositions.
Sometimes I do have a specific shot in mind that requires a specific aspect ratio but usually I find my "vision" can be adapted to the format. If not I'll shoot with a crop in mind - but I mean, my lens is a constraint, my film availability is a constraint, etc, so I usually work within them.
Maybe that makes me a crappy photographer - maybe not? Dunno.
Last edited by walter23; 10-21-2007 at 12:13 AM. Click to view previous post history.
The universe is a haunted house. -Coil
I make exposures that encompass all the viewing area, plus some margin, that I need in the final print. I then crop to what I think works best for the print. I don't let a camera's internal framing size dictate the final dimensions of my prints. For example, today I took numerous exposures in the field with a 6x6 camera. My final prints, I can almost guarantee, will not be square. I cannot predict the dimensions of the final prints while shooting in the field. I would make that determination after evaluating several test prints.
"Lo único de lo que el mundo no se cansará nunca es de exageración." Salvador Dalí
Brett Weston used a Rollei 66 but the final photographs are not square. See the Art Wright video and you will see what I mean. Did he use Agfa Pan 25 and crop to suit? Wouldn't that be a 645 negative size?
Everytime I find a film or paper that I like, they discontinue it. - Paul Strand - Aperture monograph on Strand
When I shoot square, I almost always print square.
On the odd occassion (when using one of my 6x6 cameras) I'll crop a shot, but I'll have already decided on the "print" format before taking the shot.
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to crop or not to crop
I print square and never crop any thing. If I can't get it 'in camera', then I discard the image. Walker Evans cropped a lot, as shown in a book I have on his work.
full frame, crop, square, rectangle - whatever it takes.
I TRY to work to the margins of my format, whatever it is. 99% of the time this means my final print is the same proportions as the negative. On the odd occasion, I will crop, especially if shooting in the studio and the format's negative space ends up being too much. When shooting larger LF sizes, though, I don't crop, and I compose to the very margins of the frame, because I can't crop in the printing stage- I contact print all my 5x7 and larger negatives. I think in the end it makes for better discipline because you have to work harder and think more carefully about what you're shooting BEFORE you trip the shutter.
for years i didnt' crop.
i printed full frame (less rebate lines)
and i still do in many cases.
but after printing a portfolio cropped ...
some 35mm, some 6x6, some 4x5, some 5x7 ...
i broke out of a the habit.
break whatever rules you have made for yourself, that is why they are there.
Ես այլեւս չի պատասխանելու իմ էլեկտրոնային փոստով
եթե դուք պետք է ինձ դիմեք ինձ միջոցով իմ կայքը կամ բլոգում
For me, the great thing about the square format is that it leads to this conversation. It gives the photographer the option of composing, shooting, and printing a square photograph... or not. Personally, I usually make that decision at the moment of shooting. I usually "think" in terms of filling a square format when I shoot my Rolleis but if, for example, I am shooting a building, and by composing the shot with the building in the upper area of the negative and cropping the foreground, then I can eliminate converging vertical lines, as if I were using a view camera with a rising front. It's a very practical, flexible format.