Diptychs (caught on film)
When you capture images on film they are connected to neighbouring ones by their position on the substrate, where a digital file is on it’s own, easily orphaned or separated. That’s all a bit overly dramatic what I should say is that it’s fun to take images on film that are meant to exist together and this is harder to do on film than bringing them together after the fact as you would with two digital pictures. As this is the first time I have used the half frame Yashica Samurai it didn’t always work out but you learn from doing. My first error was miscalculating the field of view of the viewfinder. I framed the images that were supposed to go one on top of the other as if the viewfinder provided a 100% view, it does not. So the result is that rather than being a seamless image formed from two frames I have two images with overlapping content separated by a black band, that is a failure. The other mistake I made was when I turned the camera on it’s side and tried to do a multi-image panoramic. I panned in the wrong direction but I will get to that in a minute.
What I’ve done here is scan the two half frame exposures as one image.
And what follows are my attempts at creating a single image from two frames.
Now the panorama should look something like this, but with black bands between the frames, (This is from the same scanned images joined with software.)
but it ended up looking like this on the negative.
The reason for this is that I panned from left to right which is the opposite direction of what I should have done, illustrated on a napkin like this 
If I want the sun to be above the tree and not under the ground I need to first capture the tree image and then pan up to capture the sun when the film moves in the direction of the arrow. When you turn the camera on it’s side this translates into starting on the right and panning left, oops. The good thing is there is lots of room for improvement and experimentation, particularly interesting to me is the prospect of the image pairs.
