Have a cute baby photograph from shortly after you first entered this world? New York City resident Molly Thomas wants to rephotograph it. Thomas has been running a humorous photo blog titled “My Precious Roommate.” Each entry features a photo of a baby submitted by readers and a photo by Thomas that recreates the submitted image with the baby replaced by Thomas’ roommate — a fully grown man.
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For his project “Un printemps à New York,” photographer Fred Lebain visited and photographed various locations around New York City. He then printed the images as poster-sized prints, revisited those locations, and shot new photographs with the old prints blended into the new scenes.
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Dutch historian Jo Teeuwisse is back with another fascinating then-and-now project (we featured her work once back in 2010), this time titled Ghosts of War–France. The images show old World War II photographs of soldiers blended seamlessly into photos of the same locations in modern day France.
We’ve shared a number of these “window into the past” projects in recent days, including a very similar one by Sergey Larenkov, but we think Teeuwisse’s images are still worth a look.
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Yesterday we featured an interesting example of digital photographs being reintroduced into the real world in another form (Google Street View photos as life-sized portraits), and now here’s another one. For her project “Broken Houses“, NYC-based photographer Ofra Lapid created realistic models of abandoned buildings using printed photos, and then photographed them on an infinite gray background.
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For his project titled Back Yard, Japanese photographer Daisuke Yokota applied the musical ideas of echo, delay, and reverb to photography by shooting, developing, printing, and re-photographing the same image over and over. In an interview with American Photo, he states,
[...] first I used a compact digital camera, and printed the image out. Then I photographed that image with a 6×7 film camera, using color film, even though the image is later black and white. I developed it at home, in a way so that imperfections or noise will appear—I make the water extra warm, or don’t agitate the film. Even before that, I let some light hit the film; I’m developing in my bathroom, so it’s not even a real darkroom, which helps, but I’ll hold a lighter up to the film, or whatever is around. I’m always experimenting—the goal is to not do it the same way twice. So then, to produce more and more variations in the final image, I re-photographed the image about ten times.
Basically, Yokota is introducing distortion through what’s known as generation loss.
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