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
New York-based photographeruses two distinct techniques to capture nature's more subtle and interesting beauty that is often beyond the visible.
"I brought a key (the camera), opened the door to the secret passage (the mirror), woke up my mythical archetypes, and lured them out into the world."
In Japan, some business men and women have a reputation for working hard and drinking hard, day after day — these photos document the places where they can go no further, so they simple stop where they are, and wait.
The question then became: is it possible to take photographs of these people in such a way that will honour their essential, even existential, distance from me? Is it possible to photograph them in a way that says ‘I won’t gain knowledge of them by photographing them, but maybe something will come from the attempt to, maybe even from the failure to?’