Why I like vertical framing / by Darren Lewey

I can't help myself. If the scene allows me to shoot vertically then I'm more excited about the prospect or is it that I only gravitate towards scenes that suit vertical. Either way I'm finding the 3:4 ratio the Pentax offers to be exactly up my street. As early as 1982 I was never truly comfortable with the 3:2 35mm ratio. I couldn't wait to move to 67 in 1994 which I found much more likeable for woods. The waist level viewfinder was also a boon and from early on I discovered the abstraction of looking down on a ground glass portal was a huge benefit to composing. The stripped away reference of peripheral eye vision had gone to be replaced by the cold, calculating monocle view and I discovered creativity developing in small camera movements. Now I use a combination of the rear live view and viewfinder alternating between the two. 

Back to vertical. It seems to me that after teaching for several years here in Essaouira, Morocco and encouraging vertical shooting for clients, seeing their results, it's inevitably become the status quo for me. My thesis for it's benefits is built upon the abstraction that 4:3 immediately lends to the scene and our viewing experience. Scenes shot this way need a bit more mindful processing as we are used to seeing both media and through our eyes scenes in a landscape format.  Try it if you don't already, it'll open up endless possibilites for semi-abstract images.