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All papers, inks and mount-board materials are of conservation grade.
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Before 'widescreen' took off as the cool format for your digital TV, everything was in
the 'standard' format of 4:3, the original shape of the film gate in 35mm and 16mm
film production. All 'old' films are in 4:3, but I don't think there've been many films
that have been shot in it for at least 20 years. As a young(ish) cameraman I was
delighted, to the point of sometimes working in it for free, when Widescreen was the
director's choice. I believe it 'looks' right because it more closely matches the shape of
the window on the world that our eyes see, and is consequently more comfortable as
a viewing format. 4:3 survives as a common stills format, for some reason, but most
cameras now give you a choice between the two. There are only 17 pictures on this
site (10 in colour and seven in b&w) that are in 4:3 - mostly in the portrait format,
which tends to disguise their 4:3-ness. The majority of the images here are in a ratio
of approximately 2:3, being a happy compromise between the two formats. This shot
is the only exception to all the usual formats, an extreme crop from a 4:3 original
where there was no detail of interest in the top two thirds of the frame and which
works well as an ultra-widescreen panorama (a ratio of over 3:1).
Before 'widescreen' took off as the cool format for your digital TV, everything was in
the 'standard' format of 4:3, the original shape of the film gate in 35mm and 16mm
film production. All 'old' films are in 4:3, but I don't think there've been many films
that have been shot in it for at least 20 years. As a young(ish) cameraman I was
delighted, to the point of sometimes working in it for free, when Widescreen was the
director's choice. I believe it 'looks' right because it more closely matches the shape of
the window on the world that our eyes see, and is consequently more comfortable as
a viewing format. 4:3 survives as a common stills format, for some reason, but most
cameras now give you a choice between the two. There are only 17 pictures on this
site (10 in colour and seven in b&w) that are in 4:3 - mostly in the portrait format,
which tends to disguise their 4:3-ness. The majority of the images here are in a ratio
of approximately 2:3, being a happy compromise between the two formats. This shot
is the only exception to all the usual formats, an extreme crop from a 4:3 original
where there was no detail of interest in the top two thirds of the frame and which
works well as an ultra-widescreen panorama (a ratio of over 3:1).
Before 'widescreen' took off as the cool format for your digital TV, everything was in the
'standard' format of 4:3, the original shape of the film gate in 35mm and 16mm film
production. All 'old' films are in 4:3, but I don't think there've been many films that have
been shot in it for at least 20 years. As a young(ish) cameraman I was delighted, to the point
of sometimes working in it for free, when Widescreen was the director's choice. I believe it
'looks' right because it more closely matches the shape of the window on the world that our
eyes see, and is consequently more comfortable as a viewing format. 4:3 survives as a
common stills format, for some reason, but most cameras now give you a choice between
the two. There are only 17 pictures on this site (10 in colour and seven in b&w) that are in
4:3 - mostly in the portrait format, which tends to disguise their 4:3-ness. The majority of
the images here are in a ratio of approximately 2:3, being a happy compromise between the
two formats. This shot is the only exception to all the usual formats, an extreme crop from
a 4:3 original where there was no detail of interest in the top two thirds of the frame and
which works well as an ultra-widescreen panorama (a ratio of over 3:1).

Tuscan road in summer

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For your own fine-art print of this picture:
Before 'widescreen' took off as the cool format for your digital TV, everything was in the 'standard' format of 4:3, the original shape of the film gate in 35mm and 16mm film production. All 'old' films are in 4:3, but I don't think there've been many films that have been shot in it for at least 20 years. As a young(ish) cameraman I was delighted, to the point of sometimes working in it for free, when Widescreen was the director's choice. I believe it 'looks' right because it more closely matches the shape of the window on the world that our eyes see, and is consequently more comfortable as a viewing format.  4:3 survives as a common stills format, for some reason, but most cameras now give you a choice between the two. There are only 17 pictures on this site (10 in colour and seven in b&w) that are in 4:3 - mostly in the portrait format, which tends to disguise their 4:3-ness. The majority of the images here are in a ratio of approximately 2:3, being a happy compromise between the two formats. This shot is the only exception to all the usual formats, an extreme crop from a 4:3 original where there was no detail of interest in the top two thirds of the frame and which works well as an ultra-widescreen panorama (a ratio of over 3:1).  
World gallery
Suffolk     Britain     World     B&W     Abstract
Suffolk     Britain     World    B&W     Abstract     Poetic Licence