So last session was editing the session before output into a five frame presentation and we got ten panels out of it. Have to say that this was a display of imagination and collaboration that produced a wide range of interpretations of our theme of shadows. Essentially we have introduced two concepts to our preparation for the 2019 Kingswood Salver, that of starting with the end in mind and the compositional elements of an effective group – see the last two posts.
This post we are going to look at the panel idea in a little more depth, as a product and as a development tool. As such we are going to stray a little from our idea of a panel of five photographs and look at multi-image frames as a project for a weekend or day out. As ever, taking the basic framework and building that into something that we can call our own is important but if we have fun doing it then we will learn more and develop faster.
Most of us will have at least a passing acquaintance with the idea of a diptych or a triptych, even if we did spend most of our art lessons in detention. A diptych is a hinged double plate or leaf (as in a book) containing two pictures, typically of religious significance. Often diptychs were altarpieces. More widely and in the sense in which we are going to explore it a diptych is two photographs separated within a single frame. Whether they are of religious significance is by the by for the purposes of this piece. A triptych goes one better and locates a central element between the two pictures that form the wings.
All the pictures in the frame have a common theme, which is something that can be exploited to mix general and details of the same image or different angles of the same subject or a specific time sequence of events through stills photography. The posh name for it is visual sequencing.
We can play with zoom, where we combine the telling detail in close up and its relation to the rest of the scene in a wider view. We can tell a story, show cause, and effect in two or three scenes. We can show before and after, possibly add a midpoint as a transition and as a passage through time. A variation of this is to take three frames of a single object multiplying, say like one, two then three Lego figures entering a conversation or the impact of a water drop into a pool and the expansion of ripples. Or we can follow the same action through from beginning to end – children moving around at speed and at play springs to mind here – where the story isn’t captured in the fraction of a second that the shutter takes to open and close.
Choosing the images is key. All of (or none of): Shape, colour, situation, repetition, textures, strong graphic lines, opposites, all have varying roles to play when selecting images or scenes for diptychs and triptychs. Images don’t have to be shot at the same time, but it is often more productive if we keep our attention on the idea of the two or three picture format to begin with, but there is no reason why we shouldn’t fruitfully employ our back catalogue (Adobe video but the processes are doable in other editing programmes).
Of course we don’t have to stop our multi-frame images at three. Polyptychs of four or five, are not uncommon and larger panels are possible but need a lot of careful planning and forethought. Five (by five different photographers) you will remember is the Kingswood Salver format and what we are eventually aiming for.
The chief development advantage here is that these things are not as we usually perceive our photography and therefore require us to think in innovative ways. This is good for our practice because forcing us out of our comfort zones can open up fresh perspectives, not least about how we look at detail and at the logic we employ when looking at an image.
So, out we go and get some diptychs and triptychs done. There are more than one good reason to try this, let ‘s see the results.