Thomas Morgan

Country where you live:

City where you live:

Statement : 

I endeavor to see the story when I’m in the moment of capturing an image, try to transcend its history. And in that moment, I often reflect on whether anyone has stood at the same spot I did and if so, who were they? Did she or he see what I saw? The possibilities are endless. Photography is the quiet observance of the fast-moving world in which human connection has been untwined to the last strand but in that tethering we see and feel the world upon which we tread. We’re passing through this time; I’m simply a vessel whose strength is the observation. I want my world to be beautiful, but I can’t force it. I want those who see my work to slow down and reflect. That’s what photography is to me: Reflections on this passing moment, and somewhere within the casting of that light there is beauty.

Quote: 
“All photographs are accurate. None of them is the truth.” – Richard Avedon
When the River Runs Again
Afternoon Light, Hollywood and Los Angeles
One Way Up
Bio: 

I began my journey as a photographer the same way many of my peers did: a camera passed down or gifted. Something not terribly expensive but with good glass and simple operations. Mine was a Yashica-MAT 124G, during one of its final years in production. It was an oddball relic even at the time since almost everyone else I knew had already become acquainted with 35mm. But I was—and continue to be—rebellious.

My cameras are an extension to me, my inner dialog brought to the fore. I compose when I shoot. It’s a fast-moving world, but it is through my constant pursuit of photographic exceptionalism that I’m able to see the details, the story, and the drama of the stillness between stoplights. I’ll always shoot because there's always something to see, and many of the pictures are not going to be that good, but the ones that get through will hopefully transcend to a photograph.

Florida
Clearwater
Russia
Moscow
United States of America
Northridge
Netherlands
Enschede
USA
New York

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