What do you call a group of shots with a common link? Read today’s definition…
Definition: Polyptych
Polyptych
Prounounced “Polyp’tik”, this is a word dating back to 1899 – according to the Oxford English Dictionary .
Originally, a polyptych was a religious piece on an alter which had four or more hinged panels. Each panel displayed a relief or painting. Today photographers use the term to describe a photo-story; a themed photographic sequence or a group of pictures with something in common. In all cases there are four or more pictures.
A polyptych may be presented as one picture with four or more images within it. Alternatively it could be four or more linked pictures presented close to one another – for example framed on the same wall or separately mounted in the same frame.
A polyptych is NOT distinct from a Quadtrych, a new term which describes a group of only four linked pictures.
A polyptych can contain many pictures. It is unlikely to be hundreds or thousands, there are practical limits to how many grouped pictures can be put together without them becoming other things. For example very many pictures could be a gallery, a timelapse sequence, a collection, a collage, a photographic mosaic, or may be described by other collective nouns. Since the word derives from times of hand-painted altar pieces we can assume in practice the numbers of pictures in a polyptych would be limited. It is uncommon to have more than ten images in a polyptych format, frame or picture. Large numbers of images in one picture are uncommon in photographic competitions. However, there are some famous examples of polypych presentations. Andy Warhol the artist was a celebrated master of the format. Many of his famous works are multiple colour versions of the same image .
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'The gentle glow before bed'. A composition using the Rule of Thirds. Click to view large.
What is the Rule of Thirds?
Just about everyone who starts out in the visual arts learns this ‘rule’. Not that it’s actually a rule – more of a guide really. Photographers are no exception, the “Rule of Thirds” is here to stay as a way to help you improve your pictures. The idea has been around since it was first recorded by John Thomas Smith in 1797. It’s not a precise mathematical formulation. It is a visual guesstimate… a convention of good visual placement. Painters, photographers and in more modern times, graphic artists, recognise that the rule of thirds helps you to appreciate a picture or design if the rule is applied.
How does it work?
As you can see from the candle photograph above the picture is over-laid with an imaginary grid of four lines. Together the grid-lines divide the picture into nine equal parts. I have faded-out the lines where they intersect with the main subject of the picture. This shows how the subject is placed relative to the intersection. It is the intersections that form the most attractively placed points. However, the full length of the lines themselves carry appealing visual qualities when used to place elements of your picture.
In the picture below I have laid the ‘Thirds’ grid over a picture by the famous English Painter, John Constable. He was a keen user of the rule and it can be seen in many of his pictures. The visual experience is enhanced by the use of the Rule.
Windmill on a Hill with Cattle Drovers. By English painter, John Constable. The picture demonstrates that the old masters recognised the importance of the Rule of Thirds. Click to see a larger view.
You can see many features of the picture that conform to the ‘Rule’. At the bottom of the picture an adult and a child drive cattle. The first vertical line goes between them. As important elements Constable has placed them on the third. However, follow the line up and you notice the line traces the leading edge of the huge cloud in the sky. The important windmill is placed exactly so that the centre of the sails, the spindle, is placed on the intersection of the thirds (I have faded the intersection for visibility). You will also notice that the same horizontal windmill line cuts across the top of the tree on the left hand side of the picture. This implied line balances the picture nicely in that plane. The lower horizontal line also creates a third. It cuts both the trees at the point where the trunks split. The result is an implied line across the picture, creating a psychological balance.
In the next picture the tin mine chimney is placed on a third. In this picture the line itself is the key to the location of the main subject on the third. There is no significant object that is appropriate for putting on the intersection.
Blue Hills Tin Mine, Cornwall, UK. The mine chimney is shown on the 'third'. Click to see large.
This composition works because the picture is relatively uncluttered and the single most important structure acts to pull the eye to it. This is why the Rule of Thirds works. Placing the main picture element in the dead centre, the eye would go straight to it. The picture would be weakened because there is no reason to be drawn into the picture once we are visually satisfied with the main object.
We have a natural tendency to find symmetry and look for the important item in the centre. No central main feature and our eyes hunt the picture taking in the whole. Inevitably we are drawn to the thirds when a significant object is there. There is still a pleasing, and yet unbalanced symmetry, on the Thirds. The rule of the Thirds works because the eye is pleased with the symmetry, yet realises a visual tension from the off-centre displacement. We are drawn into the picture because of this dynamic.
How do we use the Rule of Thirds?
In almost any picture the eye or eyes of an animal or human are a very significant point. We are programmed to look to the eyes first. If you want to succeed with the Rule of Thirds consider putting an eye on one of the intersections. A nice sharp eye, especially with a nice catchlight (white reflective sparkle), is always a significant point which draws the viewer into the picture.
In the next picture I tried to find two elements that help the placement. The eye is placed on one of the intersections. The upper wing of this swoop forms a long element along the line of the vertical. The picture is slightly balanced the other side by the fence post behind the left vertical line. It is blurry because the peregrine falcon at the bottom of its swoop is moving at about 200 kph (approx. 120 mph). Obviously, panning to take this shot was too fast to compose for the rule. So in this case the shot is cropped into the Rule of Thirds afterwards. Most image editor applications like Photoshop, Elements, Coral Paint etc. have crops with the rule of thirds grid built in. So it is easy to crop the shot to match the rule.
A peregrine falcon swooping and showing the strong features of the Rule of Thirds. Try to place the eye on one of the intersections. This helps to balance the shot. Click to see large.
Of course it is better, where you can, to compose in-camera for a shot. This saves on the post-processing. Fill the screen with your composition and use the grid or focus points to line up the elements for the Rule Of Thirds. It takes some practice, but it is worth doing. If your composition has a natural thirds symmetry you have probably got a strong image. Look for points of interest for the intersections and lines or bigger features to match a thirds line with… like a horizon, major feature, sea/land line and so on.
In the final picture I have used the upland brook and the tree to be the major features on the third. The second tree down the brook a bit is nearly on the third. It serves to demonstrate that although the shot is not perfectly in line with the grid, it still works. The eye is not able to assess the situation to absolute accuracy. We are aiming to make the shot fall into thirds as nearly as possible. It still works even though it is slightly off the thirds. Don’t be slavish – the rule is a guideline. It is not a mathematical imperative!
Honiston Pass in the English Lake District, UK. While the main feature is on the third, the minor feature which balances the picture is not quite on the other third. The picture works because there is still symmetry - it is close enough. Don't slavishly follow the Rule of Thirds. Click to see large view and no grid.
The Rule of Thirds is a convenient convention to help us compose a pleasing shot. It works because the eye searches for symmetry and finds it pleasing when it exists. If you can compose to the Thirds you will be more likely to have an impact and draw the viewer into your picture.
Have fun with this composition ‘rule’. It works, allows great creativity and it pleases the eye.
By Damon Guy (author and Photokonnexion editor)
Damon Guy (Netkonnexion)
Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers. See also: Editors ‘Bio’.
Clocks are easy to photograph. However, it is difficult to find new ways to portray a clock in an exciting way. This was taken using a fish-eye lens. (Click to see full size).
Why photograph clocks?
Why take photos of a clock? Some straight forward reasons include for Insurance records and to enable identification and valuation in the event of a theft. People also buy and sell clocks – especially if they are collectors items. So a competent shot is important for these purposes.
As photographers our interest is more likely to be focussed on clock symbolism rather than identification and adverts. Clocks are an important part of modern busy lives. The humble clock is often used to characterise our concept of time. However, as a representative of time, clocks are a cliché. The difficulty is to find a new, interesting or exciting view.
I will be looking at how best to photograph clocks and some ideas on how to view them differently for the more unusual view…
Taking a great photo of a clock
What are the problems with taking photos of clocks? Simple, highlights and reflections. Typically clocks have a convex glass front. Often visually appealing clocks are highly polished, or reflective. Using flash may spoil the shot with ugly highlights and flash bounce. Of course bright flashes and nasty highlights aside, the odd reflection in the glass can be a picture enhancer – if it is done right. So it is important to think around the subject when taking pictures of clocks. Here are some simple points to take care of first…
Clean…
Dirty clocks ruin the picture. Make sure the glass is polished, there is no dust on the clock body, and the area around the clock is clean too. Dust often becomes suddenly visible under flash. In photography cleanliness can really save the day. Finger prints should be avoided too. When handling objects after cleaning I wear white cotton gloves to avoid remarking the object. Keep a cloth handy during the shoot to wipe up as you go along.
Get close…
Fill the frame! There is little point in taking a picture of a clock if you can see most of the room and no detail of the clock. This is especially important for record and advert shots. Detail is critical.
Shot angle…
Carefully consider why you are doing the shot. If you are selling, advertising or cataloguing a clock – present the clock square-on to the camera. Odd angles and peculiar views may put off buyers and obscure details that will be of interest, especially for valuation. Often, especially for antique clocks, the provenance (item history) can affect its future value assessment. A clear, easily viewed angle will help the future valuer to make a judgement on how the clock has been treated. If you are selling the clock, especially if it is quite large, consider using several shots showing more than just the front/clock face.
Macro…
Really close shots are great for clocks. A macro lens, macro tubes or camera macro mode (look for the flower symbol) are a great way to bring out specific details. Also these magnifying shots allow you to get close enough to, say, a watch. Macro mode on modern point and shoot cameras is great for this type of shot. Get right in and take say, a quarter of the clock face. It will show the detail, condition and general appearance of the clock really well.
Sharpness…
The biggest mistake when advertising clocks is a soft or blurry picture. This goes for record shots and valuation shots too. Ensure a steady camera. Use a tripod! [Hama Star 62 Tripod with Carry Case] If you don’t have one, use any of a whole range of other fixings… Joby Gorillapod for mid-sized SLRs, table top, The Pod red 13 cm R 0017 B. If you are taking clock shots regularly you will be well advised to buy something to hold your camera in place for the shot. Sharpness is essential with anything that has fine detail. Clocks really justify care in this respect.
Surroundings…
The good character of a clock is really ruined by bad surroundings. If you have a really nice setting for your clock the setting may not look good close-up. So think about isolating the clock and show it in a simple way. A bright white background is the traditional way of showing clocks for sale. Look here for examples. You can easily place the clock on a white board. White mount-board can be bought for about £2 or £3 (around US $5) from art suppliers. If you have more than one board you can place an upright behind it while shooting. If the clock is intricate or detailed it will always be improved by a simple background. If you do leave the clock in its current surroundings it is best to try and make them as simple with as few distractions as possible. Anything substantial nearby will distract the viewer and lower the impact of your clock.
Reflections…
The glass of the clock can easily become a mirror, especially after polishing. So be careful what you allow to reflect in the the glass. A few years ago a photo circulated the Internet. It was of a kettle for sale on Ebay. The hapless individual who had photographed it was in his birthday suit. He had failed to notice his unclad reflection on the kettle! Not inspiring for viewers/buyers! Try placing a white board nearby, out of shot. It should be placed in such a way as to ensure a white reflection in your shot. I have occasionally put black strips down it so that there is a little variation on the glass reflection in the shot.
Lighting…
Try to ensure your clock has continuous soft light if you can. Direct strong light creates highlights and strong shadows (see: on hard and soft light). When lighting your clock using bright but diffused natural light, slightly from the side is the best option. However, you may need to use a long exposure if you want to get the best brightness, especially indoors. If you are using indoor, non-photographic lights then beware of colour casts and set your white balance properly. If using flash, it is best to use off-camera flash. With a unit which is not directly in line with your shot you can create better shadows. However, strong shadows will make your clock look especially angular. So try to diffuse the light (see below). With on-camera flash you have a more difficult task. There are ways to diffuse the light even then. Be careful to avoid those highlights. If you are forced to use direct flash do the following… turn the flash down (refer to your manual on how to do that; make sure a white reflector card is in near range to at least introduce some diffused light.
Diffusion…
There are many accessories to deflect the camera flash. Avoid highlights at all costs. So if possible try to get the flash to point at something bright, preferably white. Then use the reflected light from it to illuminate the clock. If you are using a point and shoot camera you need to find a way to diffuse the on-board flash. I have found that a small strip of translucent paper/white tissue paper can be stuck on to the middle of a piece of sticky tape. Then make a slight ‘U’ shape with it and stick it to the camera in front of the flash window. The tape will stand off the flash and allow some light to escape either side. The rest will go through the tissue and be highly diffused. You may also need to play with the flash power, lower settings are often better, especially close to the clock.
Diffused light always makes a better picture - avoid highlights. This was taken using a Canon G12 with a 'tape and tissue' flash diffuser. Click to view large.
Flash-reflection is very effective at diffusing the light. If you have off-camera flash it is even easier. You can diffuse the light through a photographic umbrella, or by using a ‘soft-box’ – a box with a fine white mesh on the front. This diffuses the light over a wide area. Using the off-camera flash from the side helps to define the clock, but try not to do it too much. I have seen some shots where the shadow from the clock hands is very sharp and off to one side too much. It makes it look like there are more than two hands. So, remember to think of the shadows as well as highlights.
High Key Shots…
If you want a bright white background to your clock you need to brightly light a background white surface some distance behind the clock. The light which lights the board will need to be behind the clock too. Then, focus on the clock face and get the light exposure correct for the clock face using diffused light from in front of it. When you take the shot the white light will ‘blow out’ or go pure white. If you are using a histogram on your SLR you will see flashing white/black for the background. This is correct because the background will be brilliant white in the picture. However, you have taken the shot of the clock as will be lit how ever you set up the light for it from the front.
Creative shots…
If you are trying to symbolise time or using a clock for, say, a still-life shot, then also consider the angle. However, in this case the angle may be more related to everything else you are trying to show. In this case the clock is more about conveying a feeling of time, rather than the detail of the clock. So you can be creative in how you apply the shot. Clocks lend themselves to a wide variety of creative shots. The only limit is your creativity. Here are some ideas you can work on to develop great clock shots that are a little different:
Open the clock up and photograph it inside (very diffused light and a macro lens is great for this).
Find a setting where you can emphasize the importance of a clock… on the seat of a bus stop? Out on the top of a taxi? On the head of a runner on the starting blocks?
Within a still life? Looking through a chess game to a modern digital clock; in a kitchen over a pie or other cooked meal?
Show the clock hands having moved through say five minutes. You will need to either take a number of shots and merge them in an editor later or use the bulb setting and very low light levels.
Show a sports event with a large digital timer in the background… or try merging a sports activity over the front of a clock face.
Photograph a pendulum swinging with a long enough exposure to show its arc and movement.
A clock with a time-lapse series of shots with the sun or moon moving across the sky above. Alternatively look up how to do star trails and superimpose your clock below them. Even better, adjust your light to very low on a clock to show the clock time duration of the star trail.
Show a clock with the right time on a sundial showing the correct shadow time.
Photograph a clock under water
Break an egg over a clock – show the yoke running down the face and the shell on the table next to it.
Show an alarm clock on the floor next to a sleeping animal – cute!
Take a shot with a teddy bear in the foreground and a clock on a small table in the background looking up to it – a childs-eye view of time.
By Damon Guy (author and Photokonnexion editor)
Damon Guy (Netkonnexion)
Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers. See also: Editors ‘Bio’.
Wolf Diptych - a pair of wolf pictures in one image
A diptych (pronounced dip’tik) was originally a pair of paintings hinged together. Frequently used as alter pieces or of an ornamental nature, they were often of religious origin. In modern art the diptych is often just a pair of images which reflect a common story or theme in each image.
In photography the diptych has become a popular format. Pairs of closely associated portraits, images or themed pictures are often used to off-set one another. In former times the diptych pair were hinged or fixed together. Today, wall mountings, mantel pieces or associated pictures in the same frame are all acceptable formats for the presentation of a Diptych.
In photographic presentation a pair of pictures are often put together in the same actual image. As a format, one image file with two pictures is a diptych.
For the photographic diptych format to work there has to be some form of commonality between the pictures in the image. They normally share some aesthetic, subject, colour, theme or form. The wolves shot above highlights the point. The pair of wolves, while different, are complementary in lots of ways. They are in black and white. They create a ‘dynamic’ together as they are going in opposite directions. The tones and contrasts are in a similar range for the eye. The pictures balance and complement while they also contrast and off-set one another. If you are creating your own diptych then these elements are the sort of compositional features you can use to create a pleasing result.
See also: Diptych Triptych Quadtych Polyptych Collage Composite image or picture Photomontage Photomosaic Google search: photomozaic Google search: photomontage
Send us a definition for our list of photographic words and phrases. Simply write a clear definition and send it in. Include an original picture if you wish. Give us your name and a link to your website and we will credit your work.
Print the page out, cut out the centre of the square. Make sure you leave the black line on the page. The black line defines your working frame.
Now the fun part. Hold the page in front of your face. Keep the black line inward, toward your eyes, so you can see a defined frame. With the paper at the end of your nose you have a wide angle view of the world approximating your camera view (at about 50mm). If you hold the paper closer you get a super-wide camera view. Hold it further away you get a restricted view. The further away from your eyes you hold the paper the longer the ‘apparent’ focal length you are using.
Now imagine you are going to take a photograph. Walk around (watch where you step!). Look at the world through the frame only. You will notice after a while that you spend quite a bit of time looking at the edges of the frame. Because you cannot see any more than the frame you are looking through you find you are training your eye to work in the frame.
Working in the frame is all about what you do with your camera. However, one of the common mistakes photographers make is not checking the frame edge. Ask yourself some questions What have I included? What should exclude? Is the edge of my photo an effective use of the frame? Does the framing complement your shot or hinder it.
It is not a mistake to forget to check you frame edges – it’s negligent! The edges of your frame are a primary compositional tool. Getting them in the right place is important. Training your eye to scan around the edges to check you have the capture nicely framed helps define your shot.
Damon Guy (Netkonnexion)
Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs. See also: Editors ‘Bio’. By Damon Guy see his profile on Google+.
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. 
] If you don’t have one, use any of a whole range of other fixings… 
, table top, 
. If you are taking clock shots regularly you will be well advised to buy something to hold your camera in place for the shot. Sharpness is essential with anything that has fine detail. Clocks really justify care in this respect.
