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
This catalogue offers more than 80 of Gibson's best monochrome works, embodying the simplicity and power of this black and white master's beautifully crafted images.
This collection of essays, employing Fontcuberta's signature style and playful tone, offers clever (yet insightful) glimpses into the technological and cultural shifts that photography is undergoing. One of our picks for 2014.
NAMI is a series of photos of waves around the shores of Sado Island in Japan. The photographer, a young Buddhist monk named
A series of photos inspired by metaphoric expressions that people use in their everyday language — revealing absurdities and confusion that may arise from cross-cultural interpretations.