Medium’s Matter magazine has a great profile of the photographer Adam Magyar and his extraordinary work adapting scanning technology that has been in use for decades to record “photo finishes” toward a new kind of portraiture:

In a growing body of photographic and video art done over the past decade, Magyar bends conventional representations of time and space, stretching milliseconds into minutes, freezing moments with a resolution that the naked eye could never have perceived. His art evokes such variegated sources as Albert Einstein, Zen Buddhism, even the 1960s TV series The Twilight Zone. The images—sleek silver subway cars, solemn commuters lost in private worlds—are beautiful and elegant, but also produce feelings of disquiet. “These moments I capture are meaningless, there is no story in them, and if you can catch the core, the essence of being, you capture probably everything,” Magyar says in one of the many cryptic comments about his work that reflect both their hypnotic appeal and their elusiveness. There is a sense of stepping into a different dimension, of inhabiting a space between stillness and movement, a time-warp world where the rules of physics don’t apply.

The profile comes from Magyar’s appearance at Poptech which is well worth viewing not only to understand the ways Magyar adapted the technology and tweaked it with his own engineering and software but also gives you a sense of Magyar’s interest in the “tension” present in the micro-space between still and motion.

Einstein’s Camera (Medium | Matter)