43 Reasons Why The Past Is Creepy, As Shared By This Online Group

With so many photos being shared across the internet every day, it’s easy to take photography for granted and harder to remember just how far the technique has come. Each new smartphone boasts another million pixels and multiple lenses to capture life in stunning detail. Being able to fit all this technology in your pocket makes a stark difference from the clunky contraptions of old. 

Not to mention, images are captured almost instantaneously now. Whilst Polaroid cameras first became famous due to their ability to print an image and develop it in under a minute, this is nothing compared to the split second that it takes a microprocessor to do the same digitally.

Of course, technology is built on the imagination and creativity of previous generations. Without their innovation, we’d never be able to enjoy all the fun that photography brings us today. And whilst the digital format is now most common, we owe everything to analog photography and film. 

With only improvements in the lenses, film, and capturing process, the methods behind it remained unchanged for a few generations. It’s what makes the vintage photos of the past look so vivid and real, even if “vintage” has become associated with aesthetic qualities nowadays.

Whilst we can make high-quality images at the touch of a button, there’s nothing quite like the intangible quality that analog brings. Maybe digital is just too clean and realistic, and that’s why almost all camera apps will have a number of filters to bring a little character to our shots.

There are even apps dedicated to replicating analog cameras of the past, with Huji Cam being a popular one in recent years. It’s strange to think that even with all the photo capabilities we have, the style of photos from a cheap, disposable camera is still something we lust for.

When photography was first created in the early-19th century, the pioneers behind it could never have imagined that people would want their pictures to look slightly worse. It was difficult enough to even take clear photos in the beginning with cameras requiring to be mounted on a frame and subjects having to remain perfectly still.

The results were far from perfect. Not to mention, the equipment needed to do it was expensive and temperamental to use — best left in the hands of professionals.

However, as the technology to capture photos improved and became more readily available, the costs went down accordingly. People could afford to sit for their portrait in front of a camera rather than a painter. This might explain why people posing for their pictures look so stiff and unsmiling in the earliest portrait photography. Although, there’s another reason why this could be, and it’s a bit more horrifying.

In a strange trend throughout the 19th century, people wanted to capture the likeness of their loved ones no matter whether they were alive or not. After all, a photo will remain for long after they do (or rather, did). Known today as post-mortem photography, it was a new take on mourning portraits that were painted of the deceased in pre-photography times. It was also surprisingly popular.

Trying to capture someone’s best side is a challenge for all photographers, especially if your subject is dead. There were a few techniques used to make the deceased look less lifeless. One was making them appear as if they were sleeping, which is a better way to think of someone that has passed. They’d be carefully tucked into bed or laid against the armrest of a chair, as children often fall asleep.

However, others preferred to see their beloved as they were before and attempted to mask the fact that they were no longer with them. This resulted in macabre photos of the living posing with the dead.

With varying degrees of success, the telltale signs were the lack of life in the eyes (which were jarringly pinned open) and the slouched posture of the subjects (if they weren’t frozen stiff by rigor-mortis). Other bizarre techniques included painting eyes onto the closed lids of the deceased or drawing them onto the film before it was processed.