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
Everything is a mystery in this novel-length nearly wordless artist's book by— and there is probably no unraveling the mystery except to experience it with pleasure. An incongruous sequence of black-and-white images seem like perfectly placed notes in a pleasingly discordant silent symphony.
Some favorite "unintended" photographs by Jean-Christophe Béchet reveal beauty of chance encounters of color film with light leaks, double exposures, and random juxtapositions.