The Motion Blur series originates from my observation
that landscapes take on a much different quality when observed from a
car going 80 mph vs. from a stationary position. Motion blends the elements
of a scene horizontally, creating a minimalist composition.
In Motion Blur, instead of taking pictures from a fast-moving car, I artificially introduce motion to a still scene by moving the camera in a linear manner during a prolonged exposure. In this process, the scene plays the role of the brush and the film plays the role of the canvas. The camera motion "paints" the scene onto the film.
While most photography attempts to "stop" time with fast shutter speeds and tripods, Motion Blur instead takes a still image and introduces a velocity vector. Rather than stop time Motion Blur "stretches" it. The resulting images imply a transience of physical objects — mountain peaks vanish and trees vibrate and soar.
— Alfred Tom
Dogs and people cavort like dancers in the dark when photographer
Art Fairs are like living dioramas — with dramatic lighting, costumes and set designs — where the art world plays itself.
Portraits of 20 Iranian women, some of whom wear the Hijab headscarf voluntarily, photographed through their veils — but behind the veiled lens, the subjects were free to appear how they wished. 2nd Prize Winner, LensCulture Portrait Awards 2014.
A conceptual series about the aftermath of the earthquake, tsunami, nuclear disaster, and the blossoming of cherry trees in Japan.