Editing Rephotography (section)

==Procedures and techniques==
The accurate rephotographer usually determines several facts before taking a new image.<ref>Burke, Peter. ''Eye-witnessing: The Uses of Images as Historical Evidence''. London: Reaktion Books; Ithaca, NY: Cornell University Press.</ref> 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 lens]]es 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.<ref>Klüver, Billy & Cocteau, Jean (1997). ''A day with Picasso: twenty-four photographs by Jean Cocteau''. MIT Press, Cambridge, Massachusetts</ref> 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".<ref>{{cite web |url=http://www.mccord-museum.qc.ca/en/keys/virtualexhibits/twolenses/ |title=Urban Life through Two Lenses |website=www.mccord-museum.qc.ca}}</ref> 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.<ref>{{cite book |last=Hirsch |first=Robert J. |author-link=Robert J. Hirsch |date=2012 |title=Light and Lens: Photography in the Digital Age |edition=2nd |location=Amsterdam; London; Boston |publisher=[[Focal Press]] |page=221 |isbn=9780240818276 |oclc=761380114 |quote=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&nbsp;... project ''New York Changing'', 1998.}}</ref>