“Stainless,” New York, 2010 // “Squares” Hong Kong 2007-2008 via medium.com
Self taught photographer/programmer Adam Magyar uses his own digital camera systems, industrial machine-vision cameras and script-driven post processing methods to “capture man’s finite time in infinity.”
In my images I “stage” a situation where people are seen from a distance and I depict them as particles in a system. The observer of this scene is an imaginary person, looking at the whole as an outsider, as if being exempt from the laws of time.
In STAINLESS I scan rushing subway trains arriving to stations. The images record a number of tiny details of this moment. We see people staring towards their destinations standing at the doors framed by the sliding door windows. They are scrutinizing the uncertain future. Similarly to all my images, their main motivation is arrival. The darkness of the tunnels deep below the city turns these chemically clean mock-ups into fossils of our time.
URBAN FLOW is a study of quantifying motions and analyzing the rhythm of our environment. The outcome is an abstract transformation of reality. The technique I used for it is identical with that of photo-finish cameras used in the Olympic Games.
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