My favorites in the book are from his series Comoedia/Tragoedia, for which Bridges shot the same actors twice in the same frame. A Widelux set at 1/15th takes a few seconds to make a complete circuit. Bridges used the first part of that time to capture a smiling portrait. Then, while the lens was still swinging he shifted the camera sideways to capture the same person again, this time with a frown (or maybe the frown came first. I'm not sure) to arrive at something like this:
Note that the vertical line down the middle isn't a frame division. It's from my scan across the book gutter. The blurry section near the center is from Bridges moving the camera during the exposure.
So far as I can tell Bridges is the only person to really explore this technique. His photos tend to have an extra oomph because they are of famous people, but I think anyone with a Widelux or Horizon could do something similar. I've tried with the Noblex and it doesn't work nearly as well because the camera only slows down to 1/30th (about 1.5 seconds in Noblex time). Instead of separate heads you get something like this:
It wasn't until recently that I realized Bridges' photos could be considered a form of rephotography. As with Klett, Marten, Rauschenberg or any more traditional rephotographer, Bridges shot a subject then reshot it at a later time. It just so happened that the second shot was within a few seconds and in the same exposure.
Compiling multiple takes into one image isn't unique. Idris Kahn and Pelle Cass are only two among many who've explored its possibilities. But I think combining multiple takes into one exposure is unique. Does anyone know of another photographer pursuing something similar?
Bridges' photos have a funky pre-digital originality that I find charming. With the advent of digital stitching and demise of film I doubt his technique will be explored much. The door is wide open for someone to push this idea's boundaries. How many distinct images of one subject can fit into a frame? Can you capture the subject on film as it transitions from smile to frown? How would it capture a dynamic scene like a sporting event or explosion?
Here's a shot of mine from several years ago. Although the camera didn't move, it managed to capture some bball players twice. On the right side of the frame, a player is about to release the ball. By the time the swinglens catches the shadow in the left of the frame, the ball is in the air. It's not quite a rephotograph but getting there.
As this and Bridges' photos show, there are many many possibilities. It's sort of a tragi-comedy that few people have explored them.