RECORD No.33

Record #33

by Daidō Moriyama

撮影期間、わずか1日。森山大道の、2016年10月29日、土曜日。記録26号とは異なる『池袋』があり、その日、その場所へと切り込んでいく、ストリート・スナップの真骨頂。池袋西口公園、北口まえの裏路地、地下道を抜けた東口一帯の横町。嫌いなハロウィンの真只中のサンシャイン通り、南口の人影のうすい裏路地。1日で『記録』を作るという勢いに圧倒される、エキサイティングな1冊。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。Only 1 short day period of filming in Ikebukuro.Daido Moriyama’s “record" of Saturday, October 29th.This issue reveals a completely different face of “Ikebukuro”, compaed with the same subject that was on Record No.26th.Daido’s improvised act of the genuine Street Photography leads him to the moment and spot manifested from within his instinct.Ikebukuro West Gate Park, backstreets of the North Gate, East Gate zone alley, Ikebukuro Sunshine Street during the crazed Halloween festival, deserted backstreet area of the South Gate zone……The passion and power of creating a complete single issue of “Record” in 1 single day is overwhelming, and makes us excited to witness the entire process.

97 pages, Kindle Edition

Published April 7, 2017

About the author

Daidō 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.