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Record #29
RECORD No.29
ぼくの生を通して、中平卓馬は唯一無二の友であり、ライバルであった。性格も体質もまるで異なってはいても、どこか確実に通底し合える一点があり、その一点でお互いしたたかにつるみ合えたのだと思う。（「記録 第29号」より 著者コメント）街角の人影や建物、ひっそりと存在している路地裏。どこか物寂しい風景が、デジャブのように見るものの記憶をするどく呼び覚ます。東京のスナップで構成された一冊。あとがきに公式に発表された唯一の中平卓馬氏への追悼文収録。森山大道(もりやま だいどう)／写真家。1938年10月10日。ハイコントラストで粒子の粗い“アレ・ブレ・ボケ”と称される独自のスタイルを確立し、世界的にも高い評価を得る。近年の写真集に『NAGISA』『LABYRINTH』（Akio Nagasawa Publishing）など。“Throughout my life, Nakahira was a “one and only” sort of friend, and a rival at the same time. Even though we couldn’t have been more different in terms of both character and constitution, there was one thing that we both shared, and that one thing obviously tied us soundly together. “- DAIDO MORIYAMA (Experts from the original text of Record No.29)The shadows of the people and the buildings in the back alley.....The scenery veiled with quietness awakens the memory like a déjà-vu......Record No.29 is filled with the snaps from Tokyo.The one and the only written commemoration by Daido Moriyama, dedicated to Takuma Nakahira is included in the afterword of this issue.Plexus Co.,Ltd.(Tokyo, Japan) proudly presents Daido Moriyama's lifework series "RECORD" in e-Book for the first time distributing in worldwide scale.Daidō Moriyama (Moriyama Daidō, born October 10, 1938) is a Japanese photographer noted for his images depicting the breakdown of traditional values in post-war Japan.Born in Ikeda, Osaka, Daidō Moriyama studied photography under Takeji Iwamiya before moving to Tokyo in 1961 to work as an assistant to Eikoh Hosoe.
141 pages, Kindle Edition
Published November 1, 2015
About the author
Daidō Moriyama
288 books53 followersDaidō Moriyama (Japanese: 森山 大道, Hepburn: Moriyama Daidō, born October 10, 1938) is a Japanese photographer best known for his black-and-white street photography and association with the avant-garde photography magazine Provoke.
Moriyama began his career as an assistant to photographer Eikoh Hosoe, a co-founder of the avant-garde photo cooperative Vivo, and made his mark with his first photobook Japan: A Photo Theater, published in 1968. His formative work in the 1960s boldly captured the darker qualities of urban life in postwar Japan in rough, unfettered fashion, filtering the rawness of human experience through sharply tilted angles, grained textures, harsh contrast, and blurred movements through the photographer's wandering gaze. Many of his well-known works from the 1960s and 1970s are read through the lenses of post-war reconstruction and post-Occupation cultural upheaval.
Moriyama continued to experiment with the representative possibilities offered by the camera in his 1969 Accident series, which was serialized over one year in the photo magazine Asahi Camera, in which he deployed his camera as a copying machine to reproduce existing media images. His 1972 photobook Farewell Photography, which was accompanied by an interview with his fellow Provoke photographer Takuma Nakahira, presents his radical effort to dismantle the medium.
Although the photobook is a favored format of presentation among Japanese photographers, Moriyama was particularly prolific: he has produced more than 150 photobooks since 1968.
Moriyama began his career as an assistant to photographer Eikoh Hosoe, a co-founder of the avant-garde photo cooperative Vivo, and made his mark with his first photobook Japan: A Photo Theater, published in 1968. His formative work in the 1960s boldly captured the darker qualities of urban life in postwar Japan in rough, unfettered fashion, filtering the rawness of human experience through sharply tilted angles, grained textures, harsh contrast, and blurred movements through the photographer's wandering gaze. Many of his well-known works from the 1960s and 1970s are read through the lenses of post-war reconstruction and post-Occupation cultural upheaval.
Moriyama continued to experiment with the representative possibilities offered by the camera in his 1969 Accident series, which was serialized over one year in the photo magazine Asahi Camera, in which he deployed his camera as a copying machine to reproduce existing media images. His 1972 photobook Farewell Photography, which was accompanied by an interview with his fellow Provoke photographer Takuma Nakahira, presents his radical effort to dismantle the medium.
Although the photobook is a favored format of presentation among Japanese photographers, Moriyama was particularly prolific: he has produced more than 150 photobooks since 1968.
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