Significant Space (2005)
As part of the resolution to his Photography degree, Peter Kane revisited places depicted in his family’s photo album, which included himself as a boy. He travelled back to particular locations – some specific landmarks, others more non-descript parts of the landscape – and re-photographed the space according to the composition of the original photograph.
In the bottom left of the frame of Kane’s new images, he holds the original photograph. The inclusion of Kane’s hand makes a physical connection between himself and the photograph. This is in sharp focus, and the space beyond, which he has revisited, falls out of focus. On a visual level, this split between the two focal planes instantly draws the viewer to the ‘vintage’ photograph. This strategy creates a deliberate dichotomy between the photograph that Kane presents – literally from his own ‘point of view’ – and the scenery beyond. It is as if the actual space beyond is eclipsed; it has lost its relevance and no longer bears any relation to Kane’s actual sense of the place.
(Alexander 2013 p107)
(I could not find anything more on the web.)