Two Frames, One Perspective: Ricardo’s Creative Experiment in Diptychs, Constraints & Presence

All images by Ricardo Hernandez (Ricardo, pictured above). Website: www.rhmphotos.com

When the Story Tells Itself

When we handed Ricardo the Fujifilm X half for a trial run, we didn’t know what would come of it—only that he was curious. Curious about diptychs. About storytelling. About moving through the world without constantly checking the screen.

What followed wasn’t a product review. It was something more personal—an exploration of how creative constraints can spark new rhythms, sharpen attention, and open unexpected doors.

Ricardo’s images, words, and observations speak for themselves. Together, they reveal not just what the camera captured, but what it helped awaken. We’re honored to share a glimpse of what emerged—from the photographs to the philosophies behind them.

1. Curiosity Sparks the Frame

“I was extremely curious about both the diptych feature and above all the film roll mode Fuji presented as a product proposition.”

Ricardo came to this experience not from a background in film, but from a hunger for presence—something we often lose in the age of LCD screens and instant playback.

“I found attraction in the idea of not ‘chimping’ after taking shots, avoiding distractions. The diptychs made me wonder about how one sees the world as a way to create contrast or story. And the fact the camera shoots JPEGs only brings a certain immediacy—because the decisions are made at the moment of capture, not in post.”

Diptych — “Jackpot Scales”
Two numbers. Two dreams. The tension between luck and longing.

2. Seeing in Sequences

“The diptych feature made me consider juxtapositions of two shots, and how they can relate—commonality, contrast, transformation, or story. Like a comic book: Square A to Square B.”

What emerged was a visual grammar that stretched beyond single frames. The frame-to-frame relationships became a medium of their own.

Diptych — “Permission Granted”
Form echoes function. Two commands. One moment of pause.

Diptych — “Washroom Directives”
One sign says what to do. The other, what not to do. Behavior mapped in text.

3. An Unexpected Reminder

“I can’t quite say I used the camera to its full storytelling capacity, but it definitely sparked a lot of ideas. It reminded me of a project I did back in 2009 with another small camera, where I created a sequence of images as if I’d been transported to another dimension from Glendale, CA—and then returned. Each photo had a one-liner caption underneath it. The diptych feature brought that whole concept back to mind.”

Diptych — “Alter Ego”
A split self-portrait. One stylized. One grounded. One imagined. One real.

4. Be Present, Keep Moving

While the diptych feature invited juxtaposition, the film roll mode was where presence took over.

“It was sort of a revelation. You shoot, and move on. No chimping. No re-checking. No do-overs. Pay attention. Be present.”

Diptych — “Open Narrative”
Invitation meets interaction. A storefront becomes a story.

Diptych — “One Step, Then Another”
Motion is the story. One foot in front of the other.

5. Shifting Perspective

“The X half changed the way I looked for visual connections. Normally my photos stand on their own, and any story that emerges is secondary. But this camera forced me to look at story possibilities more deliberately—and reminded me I already had that in me.”

Diptych — “Feathered Intent”
Same subject. New direction. Fragile things made whole by perspective.

Single Frame — “The Castro”
Sometimes, you don’t need a second frame. A single one can hum on its own.

Single Frame — “Ceiling Glow”

Single Frame — “Iced Still Life”

6. What the Process Revealed

“The process / workflow of the X-half made me realize the importance of keeping present: Take a shot and trust more what I do from the get-go as I pay more attention and move on. This is more so because I came into photography from a digital background, not film. 

 

Don't miss new ephemeral frames coming around me by distracting myself with checking what I just did. The more low-fi aspect of the X-half also reminded me that photography is more about the idea than a perfect pixel by pixel capture. I was more judicious and intentional about the shots I captured.”

Ricardo’s Creative Tips for Others Exploring Diptychs or “No-Chimping” Photography

If you’re new to this style:

• Try a JPEG-only camera for a while. It forces you to trust your instincts.

• Use “film roll” mode (or simulate it by turning off image review).

• Embrace constraints—like fixed focal lengths or diptych composition.

If you're using the X half specifically:

• Switch the diptych shooting order to Left > Right (default is reversed).

• Add light grain at high ISOs to create a more intentional texture.

• Use zone focus for faster street shooting.

• Be aware of parallax shift in the OVF (especially for close-ups).

• Don’t pixel peep—focus on final output size. What looks noisy at 18MP may look great on a print or web gallery.

What This Was Really About

This wasn’t about gear. It was about what happens when you take a tool with limitations and say: Let’s see where this goes.

Because sometimes a camera isn’t just a device—it’s a nudge. A temporary collaborator that opens up new ways of seeing, moving, and making. What Ricardo created with this one wasn’t about specs or ownership. It was about presence, pattern, and the power of paying attention.

Closing Thoughts

Feeling inspired to try diptychs? To shoot without rechecking? To tell stories in twos—or with fewer excuses?

Let’s talk. Or better yet, take the X half out for a spin and discover it for yourself. We just so happen to have one in available for rent - click here! And if you would like to read more about the camera, read our our blog post "Everything you need to know about the X half."