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Description
Exploring someone else's table can be risky business, kids.

My entry for Resin-Aperture 's October 2014 Challenge - Photography Triplet .

Triptychs are a very tricky business for me because of their odd shot count. I usually do diptychs which are pretty straightforward: one establishing long shot and one close-up, and in most cases that's enough for a Premise+Message simple scenario. But with a three-panel storyboard, how exactly do you flow the idea between frames? Triptychs are either "not enough frames" or "one frame too many" for me. D:

For this entry I chose to put the establishing shot in the center, instead of the usual chronological order (left). This is because the other 2 frames are somewhat independent of each other. The goal is to create 2 "pseudo-diptychs", Panel1+2 and Panel2+3. The eye will naturally go first to the establishing shot in the middle, and then look at either side to create context. The eye will go back to the center, and then relate it with the other remaining picture, creating an "even" picture count, which gives a sense of closure. ^_^

I kinda ran off my mouth there didn't I? And I'm not even sure I made sense. XDDD

Description
Exploring someone else's table can be risky business, kids.

My entry for Resin-Aperture 's October 2014 Challenge - Photography Triplet .

Triptychs are a very tricky business for me because of their odd shot count. I usually do diptychs which are pretty straightforward: one establishing long shot and one close-up, and in most cases that's enough for a Premise+Message simple scenario. But with a three-panel storyboard, how exactly do you flow the idea between frames? Triptychs are either "not enough frames" or "one frame too many" for me. D:

For this entry I chose to put the establishing shot in the center, instead of the usual chronological order (left). This is because the other 2 frames are somewhat independent of each other. The goal is to create 2 "pseudo-diptychs", Panel1+2 and Panel2+3. The eye will naturally go first to the establishing shot in the middle, and then look at either side to create context. The eye will go back to the center, and then relate it with the other remaining picture, creating an "even" picture count, which gives a sense of closure. ^_^

I kinda ran off my mouth there didn't I? And I'm not even sure I made sense. XDDD