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Diptychs, Triptychs and Polytychs (Open Thread)


Steve Ricoh

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Turbulence Polyptych

M-A APO-Summicron-M 50mm LHSA
ADOX Color Implosion, Portra 400

M246 Summicron-M 35mm ASPH. Black Chrome

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Skull Caution Steel Champion Triptych

M-A APO-Summicron-M 50mm LHSA
Portra 400
M246 Thambar-M

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different 'boxes'

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Leica M, 35mm Cron - from a recent visit to a Scottish whisky distillery

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Area Codes Polyptych

M-A & M246 APO-Summicron-M 50mm LHSA
ADOX Color Implosion (color bars)

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On 11 October 2018 at 10:11 PM, Ernest said:

Turbulence Polyptych

M-A APO-Summicron-M 50mm LHSA
ADOX Color Implosion, Portra 400

M246 Summicron-M 35mm ASPH. Black Chrome

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Fantastic, one of your best so far, Rog. Love the continuity reading bottom upwards with transition from monochrome to colour. You are a master at poly-tychs!

I have been experimenting with the idea of 'Two Frame Films', but alas not using my Leica cam's, so no show here at the moment.

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Matinee II Polyptych

M-A Thambar-M CS
ADOX Color Implosion

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American chrome

M9/Elmarit-M 28 ASPH

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Erasure Elements No. 5 Triptych

M-A Thambar-M CS
ADOX Color Implosion

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Astigmatism Stereoscope Schematic

M-A APO-Summicron-M 50mm LHSA & Thambar-M CS
ADOX Color Implosion & Portra 400

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Blur Blue Diptych

M-A APO-Summicron-M 50mm LHSA
Portra 400

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Just Drive Polyptych

M-A Thambar-M CS
ADOX Color Implosion & JCH StreetPan 400

M246 APO-Summicron-M 50mm LHSA

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Night in America; Morning in Melbourne 2018

M6TTL, 28mm Elmarit, Adox Silvermax 100

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Landscape Park Duisburg-Nord

 

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Leica M9 - Super-Elmar-M 3,4/21

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On 10/31/2018 at 2:21 AM, stray cat said:

Night in America; Morning in Melbourne 2018

M6TTL, 28mm Elmarit, Adox Silvermax 100

This diptych. The audacity to make my brain hurt— but in a good way! The diptych of a novel, or a novel diptych, that could be titled “The Peregrinations of the Imprisoned Passenger.” Chiasmus in the sky. Trace the border of the United States, turn it upside down, there is the outline of Australia. A kind of visual chiasmus, again. AB, BA.  Circadian clock rewound, sun setting on America, sun rising on Australia.  The book end motif of your diptych. 

The mental ambulatory nature of the photographer, particularly street photographers, restricted to a narrow aisle on an airliner hunk of aluminum hurtling through cirrus at 30,000 feet. The windows, the window seat.  Fire at will. The camera view through a window to the outside world. Below. Niepce, all over again. The soundtrack, that kind of droning white noise of jet engines. 

A stacked diptych like this mandates reading the images top to bottom, bottom to top, and like motion picture film, we read the scene change like an edit in a movie, only something is happening in the space between the two images. It is the scaffolding of narrative, the creative dialogue that the viewer supplies to fill the space between the images. Neither image is the same when taken in the context of the other. The nature of the creative dialogue may be simply sensory, or it may be a narrative logic of association. 

This diptych jumpstarts dialogue.  The  impending dark of one image  over the airplane engine contrasted against the  wing the light of the coming day in the other image. It has the texture of a Chris Marker proposition.

Cheers,

Rog 🎬

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6 hours ago, Ernest said:

This diptych. The audacity to make my brain hurt— but in a good way! The diptych of a novel, or a novel diptych, that could be titled “The Peregrinations of the Imprisoned Passenger.” Chiasmus in the sky. Trace the border of the United States, turn it upside down, there is the outline of Australia. A kind of visual chiasmus, again. AB, BA.  Circadian clock rewound, sun setting on America, sun rising on Australia.  The book end motif of your diptych. 

The mental ambulatory nature of the photographer, particularly street photographers, restricted to a narrow aisle on an airliner hunk of aluminum hurtling through cirrus at 30,000 feet. The windows, the window seat.  Fire at will. The camera view through a window to the outside world. Below. Niepce, all over again. The soundtrack, that kind of droning white noise of jet engines. 

A stacked diptych like this mandates reading the images top to bottom, bottom to top, and like motion picture film, we read the scene change like an edit in a movie, only something is happening in the space between the two images. It is the scaffolding of narrative, the creative dialogue that the viewer supplies to fill the space between the images. Neither image is the same when taken in the context of the other. The nature of the creative dialogue may be simply sensory, or it may be a narrative logic of association. 

This diptych jumpstarts dialogue.  The  impending dark of one image  over the airplane engine contrasted against the  wing the light of the coming day in the other image. It has the texture of a Chris Marker proposition.

Cheers,

Rog 🎬

Thank you SO much Rog! The texture of a Chris Marker proposition - I am truly honoured.

Your thoughts on the imprisoned photographer ring exceptionally true, and I'm sure we've all felt it. All that time on our hands, our (film) camera in our bag at our feet and some incredible cinema at our window. I admit to being an inveterate window seat traveler, and often think about whatever scene is passing by the window in terms of a potential photograph. So I tend to have a bunch of aerial photographs that are generally OK, but nothing to write home about. Yet the vehicle afforded by the diptych, or polyptych, offers incredible scope for a constructed narrative. These two pictures were from two aircraft on the same seemingly endless journey - the first, six hours Boston to LA. Layover for two to three hours. The second, fifteen hours LA to Melbourne and arrival two days after you left. Such a trip crosses so many time zones the circadian rhythm, as you so perceptively recognize, doesn't know whether it's Arthur or Martha. But we have our camera, our meals, our window, our books, movies and music and, most of all, time. Not altogether a bad thing, especially considering we are able to experience two different lands.

I actually think that La Jetée may have been an influence on the putting together of this diptych, even if quite subliminally - I had, after all, watched it quite a few times prior to this particular journey. Anyway, I am absolutely delighted to think there may be some slight echo of his exceptional work. I also need to thank you for an entirely new word to be added to my (at least temporary) lexicon: chiasmus ("ask not what your country can do for you; ask what you can do for your country"). I also absolutely like your association to Niepce and the very foundations of photography beginning with views through windows - and this practice or at least concept as a result seems to be quite fundamental to photographic art - and here I am reminded of the brilliant catalogue:

 
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So , again, thank you so much Rog - I really appreciate it.
 
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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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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.

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