Having edited numerous football images throughout my career, I have yet to witness a World Cup match in person. Observing the photographers who capture the action live ignites a sense of envy within me. Nevertheless, this tournament has unveiled that exceptional experimental images can be crafted even from a distance.
Slit-scanning, a distinctive photographic technique I explored years ago, employs a narrow slit in an analog camera. The photographer moves a roll of film past the aperture, capturing a sequence of moments. This complex and labor-intensive process produces fascinatingly distorted images, almost embracing the “I don’t have an accreditation, but I do have my TV and my own vision.” phenomenon that has long posed challenges for photographers.
There is a more accessible technique to create a warping effect: utilizing printed photographs in conjunction with a digital flat-bed scanner, as demonstrated in this gallery.
Interestingly, the practice of scanning has a rich history in sports photography. Mechanical slit-scanning dates back to the late 1930s when Hollywood engineer Lorenzo Del Riccio created the “circular flow camera,” which was utilized by the Del Mar Thoroughbred Club in the United States, positioned at the finish line of horse races.
As the film moved through the camera at the speed of a horse, any body part moving at a different rate would appear distorted. Yet, the camera captured one undeniable truth: it accurately recorded the winner of the race.
Two decades later, acclaimed Life magazine photographer George Silk employed slit-scanning during the 1960 Olympic trials to depict the human body in motion. His impressionistic captures of shot-putters and sprinters offered a fresh perspective on athletics.
This World Cup has seen a rise in photographers embracing unconventional methods to document the event. Florence Pernet garnered attention for her captivating images, taken by photographing her television screen, which went viral after being shared by French footballer Michael Olise. Pernet stated, “I don’t have an accreditation, but I do have my TV and my own vision.”
Even photographers associated with major photo agencies are increasingly encouraged to experiment creatively, utilizing vintage cameras, infrared imaging, and prismatic filters alongside high-end mirrorless cameras and telephoto lenses. Recently, Getty’s Shaun Botterill shot in Mexico with the same film stock he used while covering the World Cup in 1986.
In my own experiments with the flat-bed scanner, I realized that certain images lend themselves better to specific movements. For example, during Harry Kane’s goal celebration, I adopted an impromptu, jagged approach driven by spontaneity. In contrast, later scans, such as the reflection of Kylian Mbappé, were executed with greater intention.
Some may question the justification for distorting reality or pursuing imperfections. After all, not long ago, photographers sought cameras capable of delivering 30 sharp frames per second with eye-controlled autofocus. Why forsake technological advancements and journalistic integrity? Photography has always occupied a space between art and documentation. It remains flexible and subjective, without rigid rules.
Indeed, I recognize that the images I’ve transformed required immense skill and creativity; they were remarkable in their own right. However, there are moments when it is invigorating to experiment with photography and interpret the World Cup from a distance of 3,000 miles away.
