Square format - Claire Martin and David G Präkel

1. Organizing space 102_103
Square format
With the exception of some reintroduced Where the subject is appropriate, the square
Polaroid-compatible instant films, the only can be a rewarding format. In some fields –
square format currently available is the plant and flower photography, for instance –
6x6cm image on medium-format roll film. the square works well, offering big,
Working with square format has one major symmetrically placed and tightly cropped
advantage – you never have to turn the images, although it is a challenge to avoid
camera on its side. The disadvantage is the composing something repetitive and
temptation to compose either horizontally or stereotypical.
vertically within its confines and to crop
when printing. This approach either For the landscape photographer the square
disregards or misunderstands the quality can create static images with little tension,
advantage of the greater film area; the shot irrespective of where the horizon is placed,
might as well have been taken on another although with a wide-angle lens and a
format. Square images can, of course, be viewpoint that includes plenty of foreground,
created later by cropping other formats, but the square format can produce images
the resulting images may not be as imbued with great strength.
rigorously composed as those formatted to a
square in-camera. Having parts of the subject radically break
through the square frame can add
Square images are symmetrical about both dynamism. Intentional compositional
the horizontal and vertical axes, lending imbalances between contrasting areas,
solidity and stability. The resulting quarters jagged lines and edges or richly curved
are also squares, and the whole form is shapes that extend beyond the visible frame
strongly directed around the centre, which can unsettle the square format and be used
can lack dynamism. The diagonals, however, to great creative effect.
can be used to dramatic compositional
effect.
Mummified frog with dried flower of the
Hoya carnosa (left)
Uncomfortable angles push against the
boundaries of the severe square crop
from a 5x4in negative.
Photographer: David Präkel.
Technical summary: Sinar F with 150mm Symmar
Palo Verde Tree, from ‘Slab City’ portfolio (above) lens, 1/8sec at f32, Ilford FP4 Plus sheet film,
Slab city is a squatter community in an abandoned marine camp in the Colorado Desert in digital print.
Frames Balance »
southeastern California. Martin’s purposeful use of square format brings a still-life sensibility to
this ‘horrific and romantic landscape’.
Photographer: Claire Martin.
Technical summary: Hassleblad 501CM, Fuji Velvia, graduated neutral density filter for the sky, shot at f2.8.