Some musings on aspect ratio

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bleirer

Bill, Cleveland OH.
Supporting Member
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Sometimes instead of counting sheep I think about aspect ratios. Doesn't everyone? I was wondering why we always use the same ratios, 1:1, 3:2, 5:4, 4:3, those being most common that you see in cameras and in standard print sizes when you send out to print. I recently had an 'aha' moment that could well be one of those 'everybody knows that' moments. So here goes.

Every rectangle can be thought of as a square plus some extra area. I know in composition this is called the rabatment of the rectangle and artists often place important elements within the rabatment especially at the edge of a rabatment. For example if you have a 10x8 print you can think of it as an 8x8 square with an extra 2x8 section added on, or a 9x12 print is imagined as a 9x9 square with an extra 3x9 area.

So the aha moment was taking a square and adding on the simplest divisions, 1/2, 1/3, 1/4. to make a rectangle.

Start with a square and draw a vertical line to cut it in half. Add that half to the end make a new rectangle. That rectangle is now in a 3:2 aspect ratio. The two halves you started with makes the 2 and the 3 is because you added on the extra equal sized part. So applying 1/2 to a square gives the simple 3:2 format so common in photography.

Next apply 1/3 to a square. Divide the square into 3 parts with vertical lines, take one of the 3 parts and add it to form a rectangle. You end up with a 4:3 aspect ratio. The 3 comes from the original square and the 4 from the extra part you add on to make the rectangle.

Next apply 1/4 to a square. Divide the square vertically into 4 parts, then make a rectangle by adding one of the 4 parts. This gives the 5:4 ratio.

I imagine you see the pattern? Now can we get some sleep?

But wait, it could go on with other fractions of the original square and you do see a lot of common print ratios emerge, but as the fractions get smaller there are smaller differences and you get a lot of repeats because of reducing fractions. If you did 2/3 instead of 1/3 you get 5:3, a common print ratio. 3/4 gives 7:4.

Fifths are interesting. Applying 1/5 gives the 6:5 ratio but 2/5 gives 7:5 and 3/5 gives 8:5.

So where does the common 16:9 come from? Is it just out of the blue or is there some reason for that particular aspect ratio?
 
But wait, it could go on with other fractions of the original square and you do see a lot of common print ratios emerge, but as the fractions get smaller there are smaller differences and you get a lot of repeats because of reducing fractions. If you did 2/3 instead of 1/3 you get 5:3, a common print ratio. 3/4 gives 7:4.
Sounds like you're coming to conclusions very similar to what the Greeks did a few thousand years ago with the Golden Mean(aka Golden Ratio, Divine Ratio, Golden Spiral) and Phi:


The 'rule of thirds' is just a loose approximation of the Golden Mean/Golden Ratio and in tools like Photoshop you can toggle the crop tool grid to show actual Phi based spirals vs simple rule of thirds and other grid overlays. But that applies not just to composition but also to the overall aspect ratio of the frame itself.

But as posted above 16:9 or 16:10 aspect ratios really stem from video and the TV/film industry and coming up with an aspect ratio that can include several of the most popular motion picture formats. Though now that 16:9 has become more or less standardized and most commercial print shops will print to this aspect ratio I find it pretty handy and a nice format for a lot of landscape work but personally when I crop to 16:9 I don't really try to use a rule of thirds or golden spiral approach compositionally as I find it doesn't always map to the strongest visual points in the frame the way it can in more conventional: 3:2, 5:4 or 7:5 aspect ratio frames. Same basic thing for 1:1 framing, it's very useful;l for certain subjects but traditional golden spiral compositions don't always map well to square frames.
 
The difference I believe is the Greeks added the diagonal of half the square to the square to make the whirling rectangle, which wouldn't have the 3:2 ratio, but more like 3.2ish to 2.the other roots they used started with the diagonal of the full square.

These simple ratios I think is more of a Renaissance artist thing where they got interested in the harmonic armature of the rectangle, which was l lines formed by dividing a rectangle into 1/2, 1/3, 1/4, 1/5. And their diagonals. Also interesting.
 
"So where does the common 16:9 come from?"

From HDTV. The International Standards Committee came up with this because all of the other commonly used film aspect ratios would fit inside it.

I'm wondering why 16:9 exactly, surely other ratios would work, 2:1 for example.
 
I'm wondering why 16:9 exactly, surely other ratios would work, 2:1 for example.
Pixels are not free. You need a size which will accommodate other aspect ratios as big as possible and no larger - the smallest possible frame consistent with the largest possible presentation of images.

Photo sizes/aspects ratios are largely historical, I think. 2x3 comes from Leica's adoption for their use of existing 35mm film stock (which used a different aspect ratio on silent films). 4x5 was the large format standard, mostly I think made popular by Graflex. I believe the earliest film standard was 4x3. I don't think anyone calculated the perfect ratios, they just pulled things off the wall.
 
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Sometimes instead of counting sheep I think about aspect ratios. Doesn't everyone?...Every rectangle can be thought of as a square plus some extra area....But wait, it could go on with other fractions of the original square...Fifths are interesting. ...
I recommend a plastic cylinder with one removable end and filled with motrin capsules.
 
Pixels are not free. You need a size which will accommodate other aspect ratios as big as possible and no larger - the smallest possible frame consistent with the largest possible presentation of images.

Photo sizes/aspects ratios are largely historical, I think. 2x3 comes from Leica's adoption for their use of existing 35mm film stock (which used a different aspect ratio on silent films). 4x5 was the large format standard, mostly I think made popular by Graflex. I believe the earliest film standard was 4x3. I don't think anyone calculated the perfect ratios, they just pulled things off the wall.

I would think it would be a remarkable coincidence if aspect ratios pulled off the wall just happened by chance to correspond to these basic ratios.
 
I'm wondering why 16:9 exactly, surely other ratios would work, 2:1 for example.
From an Internet source:

"So we’ve seen the original silent ratio of 1.33 or 4×3, Academy ratio of 1.37, Cinerama with 2.59, Cinescope with 2.35, VistaVision with 1.85, Todd AO with 2.20 and even Ben Hur and MGM 65 with 2.76.

Where did 16×9 or 1.77 come in?

For that answer we have to turn back to Film’s little brother Television. In the late 1980s, when the plans where being drawn up for the HDTV standard, Kerns H. Powers, a SMPTE engineer suggested this new aspect ratio as a compromise. 16×9 was the geometric mean between 4×3 and the 2.35 the two most common extremes in terms of aspect ratio. This means that a images of either aspect ratio would have relatively the same screen area when properly formatted in 16×9 with letter boxes."


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From an Internet source:

"So we’ve seen the original silent ratio of 1.33 or 4×3, Academy ratio of 1.37, Cinerama with 2.59, Cinescope with 2.35, VistaVision with 1.85, Todd AO with 2.20 and even Ben Hur and MGM 65 with 2.76.

Where did 16×9 or 1.77 come in?

For that answer we have to turn back to Film’s little brother Television. In the late 1980s, when the plans where being drawn up for the HDTV standard, Kerns H. Powers, a SMPTE engineer suggested this new aspect ratio as a compromise. 16×9 was the geometric mean between 4×3 and the 2.35 the two most common extremes in terms of aspect ratio. This means that a images of either aspect ratio would have relatively the same screen area when properly formatted in 16×9 with letter boxes."


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Interesting .
 
I think we must have a built in affinity for these simple ratios. A seeking order sort of thing. Similar to music where we find the unison (1:1 ratio) and octave (2:1 ratio) most consonant, followed by the perfect 5th (3:2 ratio) perfect 4th (4:3 ratio), and major 3rd (5:4 ratio). It can't be coincidence that these same ratios are common and pleasing to the eye in visual art as well.
 
Some of the commonalities in more recent art can be traced back into the archaeological record to the very earliest graphics. And the core geometrical patterns that can be used to create art have been widely published on by cognitive scientists and historians of art.
I'm familiar with much of the rockart of southern and central Africa; the earliest panels are definitely Late Pleistocene (<10 000yr) and at least 80 000 years old based on at least two radiometric dates. And there are secure minimum dates of 40K on painted sites in western Europe and SE Asia. Many 'theories' have been proposed for what these images meant to their artists of these vanished cultures, but it is very hard if not impossible to test these hypotheses, although the vocal authors such as Lewis-Williams claim they are correct ;) ;)

So it's not surprising many of these concepts of aspect ratios form the foundations of much of photography, considering the evidence of their deep seated neurological foundations. Nevertheless there's no end of fringe writings expounding on the purported ethereal meanings etc in the so called sacred geometry of art.


here's another infamous overview of self-reference... GEB as it's known by adherents: http://geometricon.com/godel-escher-bach-more-than-thirty-years-later/
 
Some of the commonalities in more recent art can be traced back into the archaeological record to the very earliest graphics. And the core geometrical patterns that can be used to create art have been widely published on by cognitive scientists and historians of art.
I'm familiar with much of the rockart of southern and central Africa; the earliest panels are definitely Late Pleistocene (<10 000yr) and at least 80 000 years old based on at least two radiometric dates. And there are secure minimum dates of 40K on painted sites in western Europe and SE Asia. Many 'theories' have been proposed for what these images meant to their artists of these vanished cultures, but it is very hard if not impossible to test these hypotheses, although the vocal authors such as Lewis-Williams claim they are correct ;) ;)

So it's not surprising many of these concepts of aspect ratios form the foundations of much of photography, considering the evidence of their deep seated neurological foundations. Nevertheless there's no end of fringe writings expounding on the purported ethereal meanings etc in the so called sacred geometry of art.


here's another infamous overview of self-reference... GEB as it's known by adherents: http://geometricon.com/godel-escher-bach-more-than-thirty-years-later/

Thanks for the intersting info. I will peruse those links. I read the godel-escher-bach book as a youth. Might be an interesting reread to see if I see it in the same light now as I did in my hippie days.

As far as composition goes, I think the rule of thirds gets boring and overused at times, but simple to apply in the field. The greeks formalized dynamic symmetry, more interesting possibilities but difficult to apply in the field with its repeating rectangles based on square roots. Renaissance artists emphased the harmonic armature, which unlike dynamic symmetry can be applied to any rectangle and can be easily visualized in the field but offers more choices for how to place subjects. I believe rule of thirds derived from the harmonic armature.
 
Sounds like you're coming to conclusions very similar to what the Greeks did a few thousand years ago with the Golden Mean(aka Golden Ratio, Divine Ratio, Golden Spiral) and Phi:


The 'rule of thirds' is just a loose approximation of the Golden Mean/Golden Ratio and in tools like Photoshop you can toggle the crop tool grid to show actual Phi based spirals vs simple rule of thirds and other grid overlays. But that applies not just to composition but also to the overall aspect ratio of the frame itself.

But as posted above 16:9 or 16:10 aspect ratios really stem from video and the TV/film industry and coming up with an aspect ratio that can include several of the most popular motion picture formats. Though now that 16:9 has become more or less standardized and most commercial print shops will print to this aspect ratio I find it pretty handy and a nice format for a lot of landscape work but personally when I crop to 16:9 I don't really try to use a rule of thirds or golden spiral approach compositionally as I find it doesn't always map to the strongest visual points in the frame the way it can in more conventional: 3:2, 5:4 or 7:5 aspect ratio frames. Same basic thing for 1:1 framing, it's very useful;l for certain subjects but traditional golden spiral compositions don't always map well to square frames.

Those were interesting links. I also leave enough room to crop to a different ratio. I find sometimes an idea for composition just by using the various composition grids in Photoshop and starting with 1:1 and stretching the rectangle little by little towards 2:1 by working through usually 1:1, 5:4, 4:3, 3:2, but sometimes going wider with 5:3, 7:4, 2:1. I guess the subject and scene informs the orientation, rotation, and ratio rather than the other way round.
 
I guess the subject and scene informs the orientation, rotation, and ratio rather than the other way round.
That's how I look at it except for cases where the AR is already defined, like 8x10 formal portraits or certain images for website banners and the like.
 
Interesting topic. Having entered photo comps where panoramic (2:1 min ratio) is required, I continue to enjoy the neighbouring 16:9 ratio for much of my work. I cannot provide a technical explanation for this position, but find the 16:9 ratio more pleasing to my eye. Especially so when printed. It works for me, both for my own and others images.
 
Interesting topic. Having entered photo comps where panoramic (2:1 min ratio) is required, I continue to enjoy the neighbouring 16:9 ratio for much of my work. I cannot provide a technical explanation for this position, but find the 16:9 ratio more pleasing to my eye. Especially so when printed. It works for me, both for my own and others images.

It's so similar but I feel a difference too. 2:1 would be 18:9 or 2.0 where 16:9 is 1.77, most similar to the simpler 7:4 ratio mentioned above which is 1.75 (which comes from a square plus 3/4 of a square). I don't see any simple ratio to 16:9 . As stated maybe just a compromise to minimize black space around a tv screen with different tv standards.
 
These days we can crop our photos to any ratio and print services will print any dimensions to the nearest quarter inch. Yet in general the common one remain the simple ones.
 
Here is a good perspective on the film industry. 16:9 or roughly 1.8:1 came from the film industry as a hybrid of TV with 1.33 and movies at 2.4. It also works particularly well for using multiple cameras and including extreme close ups of faces or abstracts.


One thing I've always wondered about is why sensors are not round to match the lenses. That would allow much larger images with more megapixels for square or 5:4 aspect ratios.
 
Here is a good perspective on the film industry. 16:9 or roughly 1.8:1 came from the film industry as a hybrid of TV with 1.33 and movies at 2.4. It also works particularly well for using multiple cameras and including extreme close ups of faces or abstracts.


One thing I've always wondered about is why sensors are not round to match the lenses. That would allow much larger images with more megapixels for square or 5:4 aspect ratios.
I've read that manufacturing curved wafers is very difficult. I think there have been some attempts.
 
One thing I've always wondered about is why sensors are not round to match the lenses. That would allow much larger images with more megapixels for square or 5:4 aspect ratios.
Just a guess, but based on the semiconductor fab work I've been involved with it rectangular or square sensors may have a lot to do with yield out of a wafer. IOW, circular wafers are sliced into multiple devices(multiple dies) and you don't waste as much of the total wafer if you cut rectangles vs circles. That and dicing a wafer with straight lines is very standard and easy, cutting circles out of each wafer isn't something that I've seen before but I suppose it could be done. As it is, full frame 24x26mm sensors already lead to lower yield and less ability to pack a wafer than smaller sensors like APS-C or smaller.
 
Just a guess, but based on the semiconductor fab work I've been involved with it rectangular or square sensors may have a lot to do with yield out of a wafer. IOW, circular wafers are sliced into multiple devices(multiple dies) and you don't waste as much of the total wafer if you cut rectangles vs circles. That and dicing a wafer with straight lines is very standard and easy, cutting circles out of each wafer isn't something that I've seen before but I suppose it could be done. As it is, full frame 24x26mm sensors already lead to lower yield and less ability to pack a wafer than smaller sensors like APS-C or smaller.
I'm sure you're correct - and of course the power and heat impacts complicate that problem. Still - I could appreciate a 25% larger image option and would pay for it. With a shutterless camera, alternate sensor configurations are more practical than in the past.
 
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