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
An interview with the curator behind the touring exhibition of one of the "discoveries" of the century in Street Photography.
"Close to us, close to our homes, should we decide to look at them, here is a succession of moments of light that exalt the beauty of the world and decline emotions" — Christian Caujolle
A quiet meditative work that reflects on how we remember the past, how it affects our identity in the present, and how much power the photographic medium has in the "construction" of memory.
Photojournalism was yet again re-defined earlier this year whenwas awarded an honorable mention in the World Press Photo competition for photographs he took of quirky scenes he discovered while trolling around the world via Google Street View.