Trotter Hardy: A Response To The Alain Briot Triptych Article
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Tree Triptych
This is a response to Alain Briot’s series of articles on “Triptychs,” the first of which is dated July 12, 2017. Alain writes interestingly and helpfully about creating photographic triptychs. He lists quite a number of reasons why you might want to create such works, such as motivating yourself to create more artistic images, using up more of your images in one presentation format, facilitating the creation of more abstract works, and so on. Those are all excellent reasons, and I’d like to add yet another one, one that prompted me to create triptychs even before having read Alain’s article. That reason is size: you can create and display images that are bigger than your printer will print.
Beach Confrontation. This image is done as a diptych of two 12 x 16” images. Both halves are independently mounted on Gatorfoam as described in the text, but the halves are not joined the way “Tree Triptych” was. Rather, they are simply placed as shown, side by side, on a 4” ledge tha...
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Trotter Hardy is Professor of Law, Emeritus, from the William and Mary Law School, having retired from full-time teaching in 2013. While teaching, he concentrated on intellectual property, especially copyright law, and also taught tort law. He got started in photography around 2007, but has gotten much more serious about it since retirement. Before entering law school he worked extensively with computers at the U.S. National Institute of Science and Technology outside of Washington, D.C. Not surprising, then, that from the start, he found digital cameras and the ability to edit images on a computer to be part of his initial attraction to photography.
Hardy works in both color and black-and-white, but most recently has been concentrating on black-and-white botanical images.
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