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
Poetic, fine-art photographs from Japan — small enough to hold in the palm of your hand, as elegant as haiku.
’s super-saturated staged color photographs sometimes test the limits of conceptual whimsy, while her hand-written texts alter between insight and syrupy solipsism.
This inside-out, conceptual documentary project reveals Iran's "cinema city"—a fake battlefield film-set which allows for the production of war-related imagery. While the subject blurs the line between fiction and reality, the results are very real and merit deep consideration.