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
Cuban-born photographer had already taken the art world by storm with his black-and-white series of "rooms as camera obscura" imagery. But recently, he put color film in his 8 x 10 view camera, and the results are even more dizzying. In an exclusive audio interview, you can hear Morell talk about the alchemy of optics, this new phase in his work, and more.
While we usually think of the theater from the perspective of the audience—and gaze upon the stage from a distance—this series turns our view on its head, bringing the camera to the other side, the inside, of the "Fourth Wall."
I discovered a way back from the gradual shift into adulthood, regaining the raw, unaltered spirit cultivated during childhood.
Coming of age means leaving childish whimsy behind—but playing make-believe allows you, briefly, to free your imagination again.
Desire, eroticism, and closed spaces of intimacy are explored in this series of self-portraits by Danish photographer