Then the thought came to mind, why not employ all three images together in a triptych.
Once the third image (258) was employed with the first two, it began to set the “rhythmic tone” for the triptych. Once all three images were in a row, it became clear that the first two images would need to be modified to better integrate the three. The first image (256) leaned toward symmetry (left, middle, right) and the second (257), due to darker tones at left and right corners, came across as more solidly rectangular than I would have preferred. This is what it looked like at the beginning:
What elements would be changed in the three images? As you can see from clicking on the pictures below, though most of the changes were made to Composition 256, the first of the sequence, all three were modified to better balance the final image.
This is the first I’ve worked on a multiple image composition where I began knowing I would make alterations to any of it’s components throughout the process. To aid this, I constructed an Illustrator file with the three Photoshop files linked. Once changes were made to an individual photoshop file, the illustrator file was refreshed to reflect the changes and I could instantly see the effect on the full triptych composition. This technical aid contributed much to the spontaneity of the process.