 | This article needs additional citations for verification .(March 2023) |
Rephotography is the act of repeat photography of the same site, with a time lag between the two images; a diachronic, "then and now" view of a particular area. Some are casual, usually taken from the same view point but without regard to season, lens coverage or framing. Some are very precise and involve a careful study of the original image. [1]
Since the 1850s techniques were developed [2] for surveying [3] and scientific study, [4] especially in systems (Paganini, 1880; Deville, 1889; Finsterwalder, 1890) [5] of photogrammetry [6] in which precise measurements made from triangulation of points in numbers of photographic records are made in order to track changes in ecological systems. [7]
Rephotography continues to be used by the scientific world to record incremental or cyclical events (of erosion, or land rehabilitation, [8] or glacier flow [9] for example), or to measure the extent of sand banks in a river, or other phenomena which change slowly over time, [10] and in gathering evidence of climate change. [11] [12] [13]
Rephotography has also been a useful diachronic visual method [14] for researchers in sociology and communication to understand social change. [15] Three main approaches are common - photographs of places, [16] participants, or activities, functions, or processes – with scholars examining elements of continuity. [17] This method is advantageous to studying social change due to the capacity of cameras to record scenes with greater completeness and speed, to document detailed complexities at a single time, and to capture images in an unobtrusive manner. Repeat photographs offer "subtle cues about the changing character of social life". [18] Upon analysis of elements of continuity within the images, researchers must be cautious to not make erroneous interpretations of change. Another closely related use of rephotography has been the political one made by Gustavo Germano in Argentina, who rephotographed family pictures of disappeared, thus making explicit both the missing people and the life that goes on.
The accurate rephotographer usually determines several facts before taking a new image. [19] An important starting point is the choice of the older image. To show continuity between the two images, rephotographers usually include in the frame a building or other object which is present in the modern view. Some urban scenes change so much that the original buildings shown have been completely obscured by subsequent skyscrapers, or have been demolished. A "then and now" photograph could be taken but there would be nothing in common to link the two images.
The vantage point from which the original photographer took the view may have disappeared over the years, so the rephotographer has to choose an original view for which the vantage point is still accessible, or arrange to rent equipment to duplicate the original position of the camera.
Since modern camera lenses differ considerably from older lenses, the rephotographer also has to take into account the area that the lens covers, and the depth of field available.
Through scrutiny of the original image, the rephotographer determines the season and the time of day from observation of the vegetation and the shadows shown. [20] The best way to do this is to set up a camera at the original viewpoint, at approximately the right season and time, and wait with the original view in hand, until the shadows reach the same positions relative to surrounding objects. If done with extreme accuracy it should be possible to place one image over the other, and see the edges of buildings match exactly.
This type of rephotography can be seen in the McCord Museum of Canadian History's virtual exhibition "Urban Life through Two Lenses". [21] It shows the nineteenth-century views of Montreal by William Notman, rephotographed by Andrzej Maciejewski in 2002. Another is Douglas Levere's project New York Changing; here Levere rephotographed 114 of Berenice Abbott's Changing New York images. [22]
Smart phones, because they include both cameras and computing, [23] have the potential to simplify the re-photography process. To date, examples of this include "computational rephotography", [24] an approach that uses feature-matching and structure-from-motion to tell a photographer how to move so that the current view best matches the previous view, and "Collaborative Rephotography", [25] which overlays the current view transparently over the original image to allow the photographer to line up elements of the scene before taking the picture. Specific projects include: re.photos, a webportal to create, browse, search, locate, rate, share, and discuss rephotographs; [26] and Retake Melbourne, a crowd-participatory, crowd-funded, mobile app-enabled Deakin University project to rephotograph the fifty-year-old archive of Melbourne (Australia) streetscapes by Mark Strizic. [27]
Photography is the art, application, and practice of creating durable images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. It is employed in many fields of science, manufacturing, and business, as well as its more direct uses for art, film and video production, recreational purposes, hobby, and mass communication.
Astrophotography, also known as astronomical imaging, is the photography or imaging of astronomical objects, celestial events, or areas of the night sky. The first photograph of an astronomical object was taken in 1840, but it was not until the late 19th century that advances in technology allowed for detailed stellar photography. Besides being able to record the details of extended objects such as the Moon, Sun, and planets, modern astrophotography has the ability to image objects invisible to the human eye such as dim stars, nebulae, and galaxies. This is accomplished through long time exposure as both film and digital cameras can accumulate and sum photons over long periods of time.
In photography, shutter speed or exposure time is the length of time that the film or digital sensor inside the camera is exposed to light when taking a photograph. The amount of light that reaches the film or image sensor is proportional to the exposure time. 1⁄500 of a second will let half as much light in as 1⁄250.
In photography and cinematography, a normal lens is a lens that reproduces a field of view that appears "natural" to a human observer. In contrast, depth compression and expansion with shorter or longer focal lengths introduces noticeable, and sometimes disturbing, distortion.
Stereoscopy is a technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision. The word stereoscopy derives from Greek στερεός (stereos) 'firm, solid', and σκοπέω (skopeō) 'to look, to see'. Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of stereo images which could be viewed using a stereoscope.
Aerial photography is the taking of photographs from an aircraft or other airborne platforms. When taking motion pictures, it is also known as aerial videography.
Photogrammetry is the science and technology of obtaining reliable information about physical objects and the environment through the process of recording, measuring and interpreting photographic images and patterns of electromagnetic radiant imagery and other phenomena.
Videography is the process of capturing moving images on electronic media and even streaming media. The term includes methods of video production and post-production. It used to be considered the video equivalent of cinematography, but the advent of digital video recording in the late 20th century blurred the distinction between the two, as in both methods the intermediary mechanism became the same. Nowadays, any video work could be called videography, whereas commercial motion picture production would be called cinematography.
Visual sociology is an area of sociology concerned with the visual dimensions of social life.
The following outline is provided as an overview of and topical guide to photography:
Miniature faking, also known as diorama effect or diorama illusion, is a process in which a photograph of a life-size location or object is made to look like a photograph of a miniature scale model. Blurring parts of the photo simulates the shallow depth of field normally encountered in close-up photography, making the scene seem much smaller than it actually is; the blurring can be done either optically when the photograph is taken, or by digital postprocessing. Many diorama effect photographs are taken from a high angle to simulate the effect of looking down on a miniature. Tilt–shift photography is also associated with miniature faking.
Mark Klett is an American photographer. His work is included in the collections of the Smithsonian American Art Museum, the Museum of Fine Arts Houston and the Museum of Modern Art, New York.
Hemispherical photography, also known as canopy photography, is a technique to estimate solar radiation and characterize plant canopy geometry using photographs taken looking upward through an extreme wide-angle lens or a fisheye lens. Typically, the viewing angle approaches or equals 180-degrees, such that all sky directions are simultaneously visible. The resulting photographs record the geometry of visible sky, or conversely the geometry of sky obstruction by plant canopies or other near-ground features. This geometry can be measured precisely and used to calculate solar radiation transmitted through plant canopies, as well as to estimate aspects of canopy structure such as leaf area index. Detailed treatments of field and analytical methodology have been provided by Paul Rich and Robert Pearcy (1989).
Fundus photography involves photographing the rear of an eye, also known as the fundus. Specialized fundus cameras consisting of an intricate microscope attached to a flash enabled camera are used in fundus photography. The main structures that can be visualized on a fundus photo are the central and peripheral retina, optic disc and macula. Fundus photography can be performed with colored filters, or with specialized dyes including fluorescein and indocyanine green.
A stereoplotter uses stereo photographs to determine elevations. It has been the primary method to plot contour lines on topographic maps since the 1930s. Although the specific devices have advanced technologically, they are all based on the apparent change in position of a feature in the two stereo photographs.
Édouard-Gaston Daniel Deville, was the first to perfect a practical method of photogrammetry, the making of maps based on photography. He was the Surveyor General of Canada (1885–1924) and Canada's Director General for the Bureau of Surveys (1922–24). During his lifetime, Canadian surveyors had used his phototopography to map 83,678 square kilometres, roughly the size of Ireland.
In computer vision and computer graphics, 3D reconstruction is the process of capturing the shape and appearance of real objects. This process can be accomplished either by active or passive methods. If the model is allowed to change its shape in time, this is referred to as non-rigid or spatio-temporal reconstruction.
Afocal photography, also called afocal imaging or afocal projection is a method of photography where the camera with its lens attached is mounted over the eyepiece of another image forming system such as an optical telescope or optical microscope, with the camera lens taking the place of the human eye.
Sebastian Finsterwalder was a German mathematician and glaciologist. Acknowledged as the "father of glacier photogrammetry"; he pioneered the use of repeat photography as a temporal surveying instrument in measurement of the geology and structure of the Alps and their glacier flows. The measurement techniques he developed and the data he produced are still in use to discover evidence for climate change.
Luc Maria Alfons Pauwels is a Belgian visual sociologist and communication scientist, Professor of Communication Studies at the University of Antwerp, Belgium, and director of its Visual and Digital Cultures Research Center (ViDi). He is known for his work on visual research methods.
Guided by Berenice Abbott's 1930s portrait of Changing New York (1939), Douglas Levere returned to the same locations at the same time of day and the same time of year, documenting the evolution of the metropolis ... project New York Changing, 1998.
