Rephotography is a widely practiced method of identifying a location in a previously taken photograph and making a new image from the same vantage point. Although recognized as having value for collecting longitudinal data (Webb, Turner and Boyer 2010, Rieger 2011), for activating memory (Kalin 2013), and for exploring testimony (Miles 2016), there is a tendency for it to be seen as one of photography’s many ‘photographies’, that is, a genre or style within a heterogeneous medium. Building upon ongoing research across fields of study, this research note contributes to a working theory that regards the act of rephotographing as intrinsic to the making of any photograph. Accepting the history of photography as a history of analogy, a means of transferring information from one subject to another (Silverman 2015), the research note considers contemporary rephotography as messy and prone to nostalgia. In then likening the rephotographic act to remediation, a notion of one media adapting another (Bolter and Grusin 2000), the discussion arrives at a need to consider in greater critical depth notions of time beyond that of ‘flowing’ like a river.