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
" Inside is a series of surrealistic self-portraits. I don't aim to depict my physical appearance but I express the inner side of myself in a graphic manner. It's a story about fighting fears, finding one's identity and dancing with light."
The hypermarkets of France sometimes look like consumerism on steroids. Photographertakes it one step further with his series of "shoppers" flying and floating through the aisles like superheros or astronauts. And yes, they are real photographs, no tricks.
Four striking photo series from Japan link theatricality and portraiture, revealing the undeniable connection between appearance and performance.
A new group exhibition at Panopticon Gallery in Boston explores the limits and peripheries of photo-based portraits. The image shown here is by Andrea Raynor.