Because a photograph is a single image, if motion is to be conveyed, it must be done by using implications inherent in some compositions, or the use of two kinds of blurring. If a subject is placed in the center of a photograph, no motion is implied and the subject seems in a static pose. However, if, say, in a landscape oriented photograph with a subject running through a field, by placing that subject on one side of the composition, it implies he/she still has a ways to travel, and in this respect implies motion.If the subject, instead, is weighted on the other side of the composition, it implies the subject has already travelled across that distance, and can prime a subliminal sense of speed. One can also have the subject blurred to show they moved during the span of the shutter release; or, the photographer can move in synch with the subject and blur the background, while capturing the subject in focus, perhaps in mid-stride in the case of our previous example.

Since this cow had been roaming while I set up my equipment, putting on my Cokin filter system and getting out my sepia filter, I decided to place her on the left of the composition so I could remember how she wandered. I named this photograph so because the sepia creates an air of nostalgia and antiquity. Perhaps the way we move through time is no different from the way a cow grazes on a field.