If gentrification is a violent form of “un-homing” (Elliot-Cooper et al., p. 494), then it is no surprise to witness an intensification of photographic practice in gentrifying areas; photography is, after all, fundamentally a place-making practice. Taking “home” to include the wider neighborhood and urban environment (Blunt and Sheringham 2019), this paper argues that the concept of anticipatory nostalgia is a useful way of understanding the recent wave of black and white photography in gentrifying areas. As well as signifying a sense of loss, anticipatory nostalgia, defined as missing the present before it has gone (Batcho and Shikh 2016), can also be seen as an aesthetic strategy of documenting places before they are lost to gentrification. Using the works of Colby Deal (Beautiful, Still), Jules Renault (Suspended in Time), and Lorenzo Grifantini (W10) as case studies, this paper argues that this type of photography, which explicitly utilizes an archival aesthetic, invites spectators to interrogate the intimate ties between home, memory, and identity. While melancholic, these images serve as a call to action and a form of speculation about the future—rejecting the shiny, computer-generated aesthetics of gentrification for a humanized, often gritty, and authentic version of home.