I give you the magnificent Amanda! (told you you would love her Simon)

[Rehotshots@xxxxxxx]

If I were to ask such a question, though, it would refer to a recent IFC
(inside front cover) foldout magazine advertisement from Marlboro: The ad
shows a cowboy on horseback in a stand of aspens at the right of the
composition, and a lone calf at the far left. A thin covering of snow coats
the ground. The image suggests that the calf had strayed, and was being
encouraged back out of the woods.

To see the entire image, the reader has to unfold the cover and view three
pages at once. The middle page contains nothing but trees and foreground.
The photograph is effective, it seems, because it has two main subjects, and
the relationship between them is the "story" the picture tells. Without the
distance between the cowboy and the calf, we would not get the sense that
they had been apart.

Now, a similar effect could have been created in a single page or with a
more common format. We've seen depth-of-field techniques and
multiple-focal-plane tricks for years. But the panoramic format really seems
to serve this image well. Unlike many panoramic images, though, this one
seems dynamic because it portrays communication, however broadly
interpreted, instead of mere horizontal distance.

My questions would be whether others thought the image was successful, and
whether they could point out other examples of dynamic composition in a
format that seems to lend itself best to static subjects.

I'd be surprised if the responses stayed within the scope of those two
questions for more than a few messages. More likely, we'd soon get debates
about whether the images were created with "true" panoramic cameras,
criticism of the actual angle of view represented, or the evils of Big
Tobacco.

How can you not love this woman?  The calluses simply protect her beauty.  
She is so you 
Simon.  You are all  truly blind if you do not see the beauty I see in this 
written work, this 
observation.