Quote Originally Posted by markbarendt View Post
Umm, I doubt that.

To be blunt IMO "artistically" that's nonsense, great photos can be made in any format. Format only becomes important when the paper (output size) is defined before the shoot or the subject itself defines it and even then it is only a marginal concern.
I think this is generally true. With many of the square formatists I look at however, their chosen frame format defines their aesthetic - which tends to be more formal and balanced compositions - 'zen' like in a word. Then there are those photographers who through simply investigating the medium, mix up the cameras they use. But very few IMHO work this way successfully. I take your point however that it shouldn't have to define your working method as many painters use different canvas proportions while maintaining their style. Andrew Wyeth used the square quite a bit. Thinking of the Pentax as a 'Super SLR' though, it's a very different beast to the Hasselblad. If the 'Blad is a Rolls Royce, the Pentax is a Ford Mustang. You just wouldn't drive them the same way - or even on the same roads!

Anyway, today, after a few exposure failures with the Pentax sticky shutter issue, I made an image which felt significant. I've been thinking about a body of work through which I hope to define my critical practice and this image could potentially be the stimulus. Then again, I haven't seen it yet...