ABSTRACT
The real problem facing curators and historians of photography is the overflow of images. The main concern for curators in the 1960s, 70s, and even early 80s was to provide access to photographic images. This chapter states that this method is inspired by combining the limit of a roll of film with the photography course prompt: make every photograph count. The act of framing alone alters how humans view a landscape subject in a photograph because the cone of vision itself is reduced and made into a rectangle. Any accessible everyday camera lens is a single lens set with a limited aspect ratio. Even multilens cameras on smartphones are programmed to produce a photograph that creates the appearance of a single lens-based image. The aesthetic preferences that direct the algorithms are articulations of subjective aesthetic ideals programmed by real individual people. These aesthetic choices are not neutral or universal.
