Less expensive and smaller in size, 35mm cameras and film were overall more popular, but many professionals opted for the bigger 6×6-inch, 120-roll film models. Larger negatives meant better prints, all else being equal. Brands like Hasselblad and Rolleiflex built legendary reputations for outstanding quality and superb optics, and they were well deserved. Many advanced amateurs owned both 35mm and 2¼ cameras, and those who did realized one thing: Composing a square picture isn’t the same as composing a rectangle.
You can engage in the same square-shooting experience yourself. Many modern digital cameras, including the Panasonic Lumix DMC-LX7, Nikon D800, Ricoh GR Digital IV and several others, offer a variety of aspect ratios, typically, 3:2, 4:3, 16:9 and, yes, 1:1. Dial in the 1:1 format, and you’re shooting square.
Being a square shooter requires a different discipline and may challenge your natural sense of design. That’s a good thing—we can all benefit from an occasional shake-up of the creative process. When you no longer have to consider whether a scene should be captured vertically or horizontally because you have no choice, you start to see the world differently.
Some people maintain that the popular design concept of the Rule of Thirds doesn’t apply with a square. That’s not always true, but regardless, readers of DPP probably have a good sense of the fact that such a rule is little more than a guideline, and it’s a guideline that doesn’t always apply in any format. Other conventional design principles like leading lines still apply, of course, but not quite in the same way. Achieving balance on a square palette—in this case, an LCD monitor—is an altogether different trick that may take some trial and error until you get the hang of it.