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
Returning to where you grew up is always tricky: these dreamy images blend distant memories with feelings of nostalgia to produce a longing, loving portrait of home.
Our world's oceans are filling up with discarded consumer items—this project draws awareness to the problem by photographing hundreds of soccer balls that were found on beaches all over the earth.
A proposed dam in Brazil has brought jobs and the promise of energy to a depressed region while at the same time threatening to destroy the environment and displace 20,000-40,000 people—an exploration of the complex issue through a variety of lenses.
Pairing photography and poetry, these pictures are filled with free association, spirited attitudes, and emblematic references—each of these theatrical, archetypal characters leaps off the frame!