A triptyches historical roots lie in hinged alterpieces during Medieval times
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A photographic triptych is made up of 3 images placed side by side in a vertical or horizontal format.
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| Lauren Steed 2010 |
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| Bwalya 2008 |
It is a creative and conceptual way to express an idea/narrative or theme by combining 3 Photographs.
One may test the strength of the idea/triptych by seeing what happens when one removes one of the images.
Question whether or not, by removing one image this breaks up the mood, rhythm, movement or idea?
Question whether or not, by removing one image this breaks up the mood, rhythm, movement or idea?
The strength of a triptych lies in that the 3 panels TOGETHER will bring forth the theme, message or story. If one were to remove one panel, that idea [theme/message/story], would be lost.
Meaning is created by the relationship between each photograph and the whole. One 'reads' each photograph , generally from left to right, or top to bottom, separately an then all together.
Meaning is created by the relationship between each photograph and the whole. One 'reads' each photograph , generally from left to right, or top to bottom, separately an then all together.
The centre image, the most important, is flanked by the 2 outside panels or photographs.
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| Mzwa 2010 |
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| Chillies 2008 |
Meaning is embedded in how each of the 3 "communicate" and "feed" each other, and then bring forth an overall narrative, message or theme.
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| Jocelyn 2010 |
There is no formula as to how you chose, make-up or compose the 3 photographs to form a triptych. The main criteria is that there are 3 photographs bound by one idea. The strength of the triptych lies, not in a random placing but in a carefully orchestrated, 'thought about' unity of the relationship of each photograph to each other and the whole, accentuated and bound by the * aesthetic quality of the photographs.
* aesthetic = guiding principles that are concerned with appreciation of beauty/art.
In 'binding' I refer to their framing and aesthetic quality:
- colour or black and white or duo/split-toned
- digital effects_ filters etc
- surface: grain, texture, sharpness
- lighting and focus: high or low key, mood
- design elements like: pattern, flow, line, shape, negative space
- movement: leading lines, horizons, rhythm
- size and point of view
Below are some examples of previous years works where attention has been given to 'binding':
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| Zelna 2006 |
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| YaYing 2007 |
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| Nolwazi 2006 |
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| Martin 2009 |
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| Gcobisa 2010 |
looks like fun. when is it due for?
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