Now comes the fun part. Where was the exact spot the photographer stood? What was the equivalent focal length of his camera’s lens combined with the film medium? How high off the ground was the camera? Where was the sun in the sky? Everything needs to be precise when layering two photos on top of each other. My original idea was to tear away a piece of the modern photo to expose the 1906 photo, but after playing around a bit, everything seemed more interesting when the two were softly blended together.
To put these photos together, I first create a catalog of historical photos that look like they have potential to be blended. Unfortunately most of these photos end up on the digital cutting room floor because there’s simply no way to get the same photo today because either a building or a tree is in the way. Once I get a good location, I get everything lined up just right. My goal is to stand in the exact spot where the original photographer stood. Doing this needs to take into account equivalent focal length, how the lens was shifted, light conditions, etc. I take plenty of shots, each nudged around a bit at each location. Just moving one foot to the left changes everything.
Posts on Lenscratch may not be reproduced without the permission of the Lenscratch staff and the photographer.
Focus on Installation: Jenny FineApril 8th, 2021
Carine Wallauer: When the Heart is a Lonely HunterMarch 24th, 2021
Cig Harvey: Blue VioletMarch 12th, 2021
Michael Grant: Do You Want to Dance?February 27th, 2021
Focus on Appropriation: Deepanjan MukhopadhyayFebruary 4th, 2021