Getting a tack-sharp image is one of the basic tenets of photography—or at least that’s the usual thought process. This isn’t a philosophy adhered to by Vietnamese photographer Chiron Duong, whose images are defined by mesmerizing motion blur. Rather than blunders, his blurred shots are all by design. Whether it be a model in mid-stride, a wisp of silk cloth floating through the air, or entire dresses that seem free from the constraints of gravity, Duong’s photos are imbued with a dizzying sense of movement. “My images carry stories of culture, proliferation, and spiritual struggle,” he explains. “I intend to show the energy that comes from within our bodies, the mystical spirit.”
大多数摄影师认为，保证图片的高清晰度是拍摄最基本的原则之一。但越南摄影师 Chiron Duong 并不信奉这一原则。相反，他的作品往往以长曝光式的模糊影像引人入胜。模特们与身上的衣装仿佛超脱了万有引力，梦幻般地漂浮于画面，呈现出万花筒般地动态视觉。他说道：“我的照片讲述着关于文化的故事，一个一个像是细胞正在蔓延，记录下那些与精神斗争的个体。”他解释说：“我希望能在作品中展现出人物由内向外散发的能量，那是一种令人摸不透的精气神。”
The supernatural qualities of his work are undeniable. In some images, it almost seems as if the physical body and spiritual form were being split apart. In others, the motion blur is more subtle, resembling a spectral aura that shimmers around the model. In others, the person in frame is no longer discernible, nor are they even the main subject matter—a tornado of colors, flowing fabric, and choreographed movements, their gesticulations and Chuong’s camera work take center stage instead.
Chiron 的作品风格飘渺至极。有时，模特的身体与灵魂似乎彼此分离；有时，这种虚幻的效果则显得更微妙一些，似是萦绕在模特四周的光环；还有时，人物的轮廓甚至已无法辨别，只剩下抽象的影子相互交叠。一些标志性的元素，例如由旋风勾兑的斑斓色彩、抛洒浪漫和写意的人物姿态、以及独道的镜头等等，这些都是 Chiron 创作的重心。
To dramatize the sense of movement, Duong plays with lower shutter speeds. At times, the blurred motion is still clearly identifiable that it’s a dress being swung around. Other times, when shutter speeds are lowered enough or when the model’s movements are fast enough, his photos traverse into near-abstract territories, as is the case in the majority of his fine-art work, in which he essentially paints with light and movement. “What I like the most about this technique is that it feels like you’re staring deep into the soul and the spirit of the characters, rather than the person themselves,” he says.
Duong comfortably crisscrosses between fine-art photography and fashion work, resulting in an oeuvre that often blurs the boundary between the two. He admits that there are many overlaps with how he approaches the two different genres. “There are many similarities between the two,” he explains. “In both, I always think about context, characters, and story. I’m always interested in making beautiful imagery, but a commercial photo can have values and purposes that are different for the photographer and client.”
Regardless if it’s a personal project or commercial work, he’s keen on storytelling through his photography. Whether the narrative is one of his own or one based on the fashion designers’ own concepts is hardly important, as long as he gets to express it through his own visual means.
Despite Chuong’s interest in motion, videography hasn’t spoken to him the way that photography has. As opposed to motion pictures, a still image evokes mystery, carrying an ambiguity that allows the viewer’s own imagination to take hold and shape their own meaning. “A photo often has no introduction and ending, the viewer needs to feel the moment captured in that photo and think about the character’s actions, origin, place, and so on,” he says. “That’s why I enjoy photography.”
虽然 Chiron 喜欢充满动感的画面，但对他来说，摄像并不如摄影那样吸引他，因为静止的图像能唤起神秘，带有模糊性，让观众发挥自己的想象力去解读，最终形成自己的理解。他表示：“照片通常没有开头和结尾，观众需要去感受照片被定格的一瞬间，并思考人物的动作、起源、地点等，这正是我喜欢摄影的原因。”