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Diptychs, Triptychs and Polytychs (Open Thread)


Steve Ricoh

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1 hour ago, Ernest said:

Diptych & Triptych Formats

M-A Thambar-M
Ektachrome E100D

Common formats with 35mm + 6X6. Images are sometimes continuous, jump cuts, or panoramic, and other times discontinuous, different images that allude to narrative or time lapse. Discontinuous images can be abstract, fragmented, or simple color fields that instigate associations in a mental landscape.

 

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1 hour ago, Ernest said:

Diptych & Triptych Stitched Formats

M-A Thambar-M
Ektachrome E100D

Stitched image formats. Of course, the layout variations is wide open. Craziness counts with diptychs.

Helpful insight into the process of composing and editing diptychs (and manytychs), thanks Rog,

Fabulous use of the limited colour palette blending well with the ephemeral ghost-like imagery. Very thoughtful production.

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Black Cat Chair

M-A Thambar-M
ADOX Color Implosion 100

Nikon F Micro-Nikkor 55mm
Tri-X (undeveloped for 36 years)

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7 hours ago, Ernest said:

Black Cat Chair

M-A Thambar-M
ADOX Color Implosion 100

Nikon F Micro-Nikkor 55mm
Tri-X (undeveloped for 36 years)

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Wow, just amazing - I can imagine it printed, framed and hanging on the wall. Surely a conversation stopper replaced by silence, open mouths...

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9 hours ago, Ernest said:

Black Cat Chair

M-A Thambar-M
ADOX Color Implosion 100

Nikon F Micro-Nikkor 55mm
Tri-X (undeveloped for 36 years)

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OK this is blowing my mind. The tri-x remained undeveloped for 36 years - which places it in 1982 I believe. So this lovely little girl holding the cat - she is grown up now. The cat, sadly, is no longer with us. The cat is looking at something 36 years ago. In another ~tych (How Busy They Are) you have posted on "I Like Film" the same cat being held by the same girl in the same picture looks across at a sequence in identical format but sees an older lady lying in bed. Now because the sequence in HBTA runs somewhat like cinema film the mind thinks of a cinematic equivalent and this mind comes up with the post-stargate bedroom sequence in 2001: A Space Odyssey. These two sequences of Rog's seem to suggest the whole passing of life occurring in the space of the sequential frames. And in fact this is reinforced by the use of 36 year-old film. These pictures (I assume the tree in HBTA and the chair in this Black Cat Chair triptych are from the same roll) until now have existed as latent images - the girl, not yet developed as a photograph even as she was not yet developed as a woman. The cat - Schrödinger's - alive on cellulose even as it was dead in the space between when the photograph was taken - the image not yet fixed, and now, when it is finally "alive" in the picture. There are so many layers in the two sequences. I agree with Steve:

2 hours ago, Steve Ricoh said:

Surely a conversation stopper replaced by silence, open mouths...

.  My mouth agape has my chin on the floor. It's late. I need my sleep.

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8 hours ago, stray cat said:

OK this is blowing my mind. The tri-x remained undeveloped for 36 years - which places it in 1982 I believe. So this lovely little girl holding the cat - she is grown up now. The cat, sadly, is no longer with us. The cat is looking at something 36 years ago. In another ~tych (How Busy They Are) you have posted on "I Like Film" the same cat being held by the same girl in the same picture looks across at a sequence in identical format but sees an older lady lying in bed. Now because the sequence in HBTA runs somewhat like cinema film the mind thinks of a cinematic equivalent and this mind comes up with the post-stargate bedroom sequence in 2001: A Space Odyssey. These two sequences of Rog's seem to suggest the whole passing of life occurring in the space of the sequential frames. And in fact this is reinforced by the use of 36 year-old film. These pictures (I assume the tree in HBTA and the chair in this Black Cat Chair triptych are from the same roll) until now have existed as latent images - the girl, not yet developed as a photograph even as she was not yet developed as a woman. The cat - Schrödinger's - alive on cellulose even as it was dead in the space between when the photograph was taken - the image not yet fixed, and now, when it is finally "alive" in the picture. There are so many layers in the two sequences. I agree with Steve:

.  My mouth agape has my chin on the floor. It's late. I need my sleep.

Yes, yes, and yes. You have it all wrapped up. For How Busy They Are, I was not thinking about Kubrick, but, yes, there is that time lapse sequence that is so enigmatic, especially without words, that speaks to the mystery of life passing and remembered, simultaneously. The palimpsest of it all surfaces, again. The challenge was to restate the often stated cliché: passage of time. The intersection of all of these images brought to life after 36 years of celluloid darkness on the same roll was remarkable for me. Not that it matters, but the little girl is my niece, the older lady is my grandmother, and the tree is on my step-grandfather's land. My niece is now 43, and my grandparents have passed away. Cropping out half of the faces makes the images universal, and even gives the connotation that the little girl and the older lady may be one and the same. The black cat is, well, the black cat, though there is the black-and-white cat next to the ancient tree, the one ageless common denominator between the two images, but that black-and-white cat is absent in the second shot. I like your reading much more, the way that you have excavated the visual layers. And, of course, there is Kubrick; anything that brings him into a conversation deserves applause.

The chair in Black Cat Chair I actually shot last week on ADOX: first shot with flare on the roll. I went for the darkness of the open door held open by the black chair, the black rectangle reiterated by the yellow caution rail. The background is a shopping bag, also on ADOX for a little implosion. Thanks, again, for your astute reading and charitable comments.

Cheers, Rog

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11 hours ago, Steve Ricoh said:

Wow, just amazing - I can imagine it printed, framed and hanging on the wall. Surely a conversation stopper replaced by silence, open mouths...

Thanks, Steve, for your enthusiasm--and having the artistic audacity to actually realize a thread devoted to diptychs, which often push the envelope with the abstract and the cinematic. Hats off to you!

Cheers, Rog

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  The secrete live of trees.

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Where is No. 4?

Edited by Ando
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Paper Bag Star Polyptych

M-A Thambar-M
ADOX Color Implosion

M246 APO-Summicron-M 50mm LHSA

Nikon F Nikkor 85mm
RGB ECN-2

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13 hours ago, Ernest said:

Yes, yes, and yes. You have it all wrapped up. For How Busy They Are, I was not thinking about Kubrick, but, yes, there is that time lapse sequence that is so enigmatic, especially without words, that speaks to the mystery of life passing and remembered, simultaneously. The palimpsest of it all surfaces, again. The challenge was to restate the often stated cliché: passage of time. The intersection of all of these images brought to life after 36 years of celluloid darkness on the same roll was remarkable for me. Not that it matters, but the little girl is my niece, the older lady is my grandmother, and the tree is on my step-grandfather's land. My niece is now 43, and my grandparents have passed away. Cropping out half of the faces makes the images universal, and even gives the connotation that the little girl and the older lady may be one and the same. The black cat is, well, the black cat, though there is the black-and-white cat next to the ancient tree, the one ageless common denominator between the two images, but that black-and-white cat is absent in the second shot. I like your reading much more, the way that you have excavated the visual layers. And, of course, there is Kubrick; anything that brings him into a conversation deserves applause.

The chair in Black Cat Chair I actually shot last week on ADOX: first shot with flare on the roll. I went for the darkness of the open door held open by the black chair, the black rectangle reiterated by the yellow caution rail. The background is a shopping bag, also on ADOX for a little implosion. Thanks, again, for your astute reading and charitable comments.

Cheers, Rog

Thank you so much, Rog - I really value your thoughts and thought process on how you go about creating the art that you do. It is inspiring and illuminating.

Your thoughts on the latent images, undeveloped for so long, and containing pictures of loved ones, reminded me of something that I'd almost forgotten - and I'm so glad you reminded me. This also fits well into the nature, I believe, of palimpsest. When Mum passed away in 2005 - Dad had already passed away - my brother and I and our families had the rather sad task of sorting things in their home - our old family home of many years. Mum was one who was loathe to get rid of anything so this was quite a big task. Anyway, amongst all the other stuff, in the loungeroom Sue and I came across an old Kodak folding autographic camera - the kind that took one of the weird film sizes like 127 or something. Through the red window at the back we could see there was an unfinished film in it, so Sue suggested kind of jokingly that she take my picture right there in the loungeroom as a kind of memento. We were living overseas at the time and things were a bit hectic - I guess I must have taken the film back with me to Fiji and developed it there. On the resulting negative sure enough there was I, on the threshold of turning 50 in the picture Sue had taken; now cue the music from the Twilight Zone - because a couple of frames earlier - there too was I, only this time in my late teens/early twenties. In the same room! Mum must have taken it at some stage and we'd forgotten all about it and she obviously hadn't used the camera again nor had the film developed.

I guess that qualifies as a palimpsest.

Yes, I know, photos or it didn't happen. I will search unflinchingly now until I find those negatives!

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Childhood Nap

M246 Thambar-M & Macro-Elmar-M & APO-Summicron-M 50mm LHSA

M-A Thambar-M & APO-Summicron-M 50mm LHSA
ADOX Color Implosion & Ektacolor E100D

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10 hours ago, stray cat said:

Thank you so much, Rog - I really value your thoughts and thought process on how you go about creating the art that you do. It is inspiring and illuminating.

Your thoughts on the latent images, undeveloped for so long, and containing pictures of loved ones, reminded me of something that I'd almost forgotten - and I'm so glad you reminded me. This also fits well into the nature, I believe, of palimpsest. When Mum passed away in 2005 - Dad had already passed away - my brother and I and our families had the rather sad task of sorting things in their home - our old family home of many years. Mum was one who was loathe to get rid of anything so this was quite a big task. Anyway, amongst all the other stuff, in the loungeroom Sue and I came across an old Kodak folding autographic camera - the kind that took one of the weird film sizes like 127 or something. Through the red window at the back we could see there was an unfinished film in it, so Sue suggested kind of jokingly that she take my picture right there in the loungeroom as a kind of memento. We were living overseas at the time and things were a bit hectic - I guess I must have taken the film back with me to Fiji and developed it there. On the resulting negative sure enough there was I, on the threshold of turning 50 in the picture Sue had taken; now cue the music from the Twilight Zone - because a couple of frames earlier - there too was I, only this time in my late teens/early twenties. In the same room! Mum must have taken it at some stage and we'd forgotten all about it and she obviously hadn't used the camera again nor had the film developed.

I guess that qualifies as a palimpsest.

Yes, I know, photos or it didn't happen. I will search unflinchingly now until I find those negatives!

LUF is certainly not at a loss for creative threads, but this is certainly Barn Find photographs, those rolls of film discovered in forgotten cameras and desk drawers. Thanks for sharing your experience and incredible find; that two images of you would be the last two exposures on the film (127 no less!) is astounding, yes, Twilight Zone. Thirty years, apart. Come to think about it, I have a roll in my Nikon F2 that's been sitting for the last five years. We'll see what surprise is in store.

Cheers, Rog

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Giens by JM__, on Flickr

 

Velvia 50 - Pen FT - 20mm Zuiko f3.5

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taking off by JM__, on Flickr

 

Velvia 50 - Pen FT - 20mm Zuiko f3.5

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Orly by JM__, on Flickr

 

Velvia 50 - Pen FT - 20mm Zuiko f3.5

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5 hours ago, Ernest said:

LUF is certainly not at a loss for creative threads, but this is certainly Barn Find photographs, those rolls of film discovered in forgotten cameras and desk drawers. Thanks for sharing your experience and incredible find; that two images of you would be the last two exposures on the film (127 no less!) is astounding, yes, Twilight Zone. Thirty years, apart. Come to think about it, I have a roll in my Nikon F2 that's been sitting for the last five years. We'll see what surprise is in store.

Cheers, Rog

Lots to look forward to then - it really is quite remarkable to think of all the latent images that might one day see the light of day. Your post reminded me that I have this lot to develop sometime - they belonged to my cousin's husband and I guess he never got round to processing them either (please excuse non-Leica photo just for illustration, hope that's OK):

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Yes that silver canister is from 1956. So am I. What might it contain?

 

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1 hour ago, JMF said:

Orly by JM__, on Flickr

 

Velvia 50 - Pen FT - 20mm Zuiko f3.5

Love this sequence with the aviation theme, Jean-Marc - the little pen does lend itself marvelously to diptyches - but the secret, as you so deftly illustrate, is in the intelligent combining of images.

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1 hour ago, stray cat said:

Lots to look forward to then - it really is quite remarkable to think of all the latent images that might one day see the light of day. Your post reminded me that I have this lot to develop sometime - they belonged to my cousin's husband and I guess he never got round to processing them either (please excuse non-Leica photo just for illustration, hope that's OK):

Yes that silver canister is from 1956. So am I. What might it contain?

 

 Awesome. Just feels like prospecting for film in the archives or at least in the bottom drawer.  Are we talking The Treasure of Sierra Madre here?  Going through one of my file cabinets, I struck paydirt, a Ziploc bag filled with rolls of  exposed  35 mm.  Indeed, it may be dirt that just doesn’t pay off because I had one roll that turned up with nada.  Bad boy, bad boy, what am I going to do?  Oh, my, do I remember those aluminum canisters!  Today, I just finished off a roll of Kodachrome 64, so far out of date it probably came from a time capsule.   

 Cheers, Rog🎬

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