Rephotography for photographers: discussing methodological compromises by post-graduate online learners of photography

Abstract

Rephotography involves making one or more pictures of the same subject in order to repeat an existing image, usually to show change. Recognized early on as a rigorous visual method for natural sciences, rephotography in popular culture has grown into a popular visual strategy of displaying images of the past within or alongside images of the present, but such images cannot alone explain events that led to their production. While any methodological compromises in scientific applications are usually held to account, the act of rephotographing – as a common and varied set of practices within visual culture – faces far less scrutiny. Focusing on the presence of rephotography in photography education, this paper reports on responses to an explicit rephotographic task given to students of an online MA Photography program and considers compromises regarding two aspects seen as methodologically fundamental: the accuracy applied in revisiting a previously made image and the depth of exploration undertaken in response to it. In doing so, it supports the notion that rephotographing as a way of learning through looking at and making images is vital for the visual literacy of photography students.

Keywords:

• Rephotography
• photography education
• MA photography
• online learning
• visual literacy

Acknowledgements

The author would like to express gratitude to the editors and reviewers for helpful and insightful comments on the draft, and to J.A.P Alexander who kindly drew attention to quirks in the writing. Appreciation is expressed also to the participants in the study who kindly gave permission to reproduce their images and thoughts here, and to Falmouth University for the opportunity to design and deliver content for the module. An earlier version of this paper was first presented at the Photomedia 2018 conference in Helsinki, the feedback from which was instrumental in moving forward with the full paper.

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

1 This conflation is summarized neatly in the Wikipedia entry for rephotography that reads ‘Rephotography is the act of repeat photography of the same site, with a time lag between the two images; a “then and now” view of a particular area’ (2018, June 29).

2 For interesting examples, refer to the essays by Rebecca Senf, or by Rodney Garrard and Mark Carey, or by Kris Belden-Adams in the same volume.

3 My initial experience with rephotography started with revisiting photographic images from the Challenger expedition, a Victorian scientific mission to survey the world’s oceans between 1872 and 1876. Adopting a participatory approach, it was suggested that not only could rephotography activate a place in the past through creative engagement with the present (McLeod, 2016, May) but it could also offer a repeatable platform for the methodological development of visual literacy amongst informal learners (see McLeod, 2012). My practice also continues to evolve and the teaching of rephotography is intrinsic to those changes.

4 The sequence in which students take these modules depends on the time of joining, but the content for each is pitched at the same level.

5 Canvas is an online learning management system (LMS) created by Instructure and launched in 2011 that aims to simplify teaching and learning by providing one place for students and teachers to interact using familiar digital tools (e.g. forums, instant messaging etc.). Typically, institutions will adopt the LMS and customize it according to specific needs.

6 Landings is a yearly group exhibition of work-in-progress by students of the online MA at Falmouth university. The concept is similar to an ‘art trail’ type of exhibition but comprises a starting page that links to public presentations of student work in respective locations.

7 This is typically a later-stage or finalized draft of a photobook.

8 The three formal assignments were: a work-in-progress portfolio comprising 18 images, a 10-minute video presentation discussing developments of in methodology and documented critical reflection in the students’ CRJ.

9 The content for these two videos were produced by the module leader and visible only to students enrolled in the module.

10 ‘Non-human photography’ is a way of thinking about photography that deprivileges human authorship of images and recognizes the extant to which non-human agents (e.g. computers) contribute to image-making. For a full discussion, see Zylinska (2017).

11 Prior to starting the module, students were set a photobook task in order to maintain focus during the short holiday period. By directing attention to Ruscha’s photobooks, they needed to consider the value of everyday items as well as seriality.