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Record #21
RECORD No.21
なんと言ってもニューヨークでのぼくの一番のときめきは、巨大なビルボードのジャングルとでもいうべきか、夕刻のタイムズ・スクエアの、めくるめく光芒のド真ん中に身を包まれた一瞬であり、アドレナリンを感覚する、もっともセクシーな時間である。（「記録 第21号」より 著者コメント）
2012年4月に刊行された森山大道の私家版写真誌｢記録 第21号｣を電子書籍化。2011年秋に訪れたニューヨークでのデジタルカラー作品集。カラフルでセクシーなスナップで切り取られた秋のニューヨーク。光の引力に吸い込まれ、うっとりしながら歩む大道の視線。
森山大道（もりやま だいどう）／写真家。1938年10月10日、大阪府生まれ。岩宮武二スタジオを経て細江英公の助手となり、1964年より独立。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するなど、既存の写真表現をラディカルに挑発し続け、世界的にも高い評価を得る。「量のない質はない」というポリシーのもと、現在でも膨大な数のストリートスナップを撮り続けている。近年の写真集に『NAGISA』『LABYRINTH』（Akio Nagasawa Publishing）、『カラー』『モノクロ』（月曜社）、『実験室からの眺め』（河出書房新社）など。
Last November I went to New York for the first time in two years. That was for an event in the rather big gallery space complete with library and café of the Aperture photo publisher in Manhattan's Chelsea gallery district. In the "TKY" titled show, I made photobooks containing about 100 of my prints, and handed them directly to the numerous visitors who had come to receive their reserved copies. The venue was packed with lots of New Yorkers, among them my friends Gerard Malanga and Larry Clark.
After doing this for two busy yet very pleasant days, I took some time off for a trip to Coney Island, where I enjoyed an enormously colorful, American-flavored afternoon. However the real thrill came later in the evening, when I took a dive into the Times Square's billboard jungle. The adrenalin rush the experience of bathing in the sparkling beams of light gave me made this the sexiest moment of my stay in New York.
I’ll be back in New York this coming May, and you will surely see me heading straight for the entrancing lights like an insect once again.
-DAIDO MORIYAMA
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. He produced a collection of photographs, on "Nippon gekijō shashinchō" Though not exclusively, Moriyama predominantly takes high contrast, grainy, black and white photographs within the Shinjuku area of Tokyo, often shot from odd angles. Moriyama's photography has been influenced by Seiryū Inoue, Shōmei Tōmatsu, William Klein, Andy Warhol, Eikoh Hosoe, the Japanese writer Yukio Mishima, the dramatist Shūji Terayama, and Jack Kerouac's "On the Road".
Plexus Co.,Ltd.(Tokyo, Japan) proudly presents Daido Moriyama's lifework series "RECORD" in e-Book for the first time distributing in worldwide scale.
2012年4月に刊行された森山大道の私家版写真誌｢記録 第21号｣を電子書籍化。2011年秋に訪れたニューヨークでのデジタルカラー作品集。カラフルでセクシーなスナップで切り取られた秋のニューヨーク。光の引力に吸い込まれ、うっとりしながら歩む大道の視線。
森山大道（もりやま だいどう）／写真家。1938年10月10日、大阪府生まれ。岩宮武二スタジオを経て細江英公の助手となり、1964年より独立。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するなど、既存の写真表現をラディカルに挑発し続け、世界的にも高い評価を得る。「量のない質はない」というポリシーのもと、現在でも膨大な数のストリートスナップを撮り続けている。近年の写真集に『NAGISA』『LABYRINTH』（Akio Nagasawa Publishing）、『カラー』『モノクロ』（月曜社）、『実験室からの眺め』（河出書房新社）など。
Last November I went to New York for the first time in two years. That was for an event in the rather big gallery space complete with library and café of the Aperture photo publisher in Manhattan's Chelsea gallery district. In the "TKY" titled show, I made photobooks containing about 100 of my prints, and handed them directly to the numerous visitors who had come to receive their reserved copies. The venue was packed with lots of New Yorkers, among them my friends Gerard Malanga and Larry Clark.
After doing this for two busy yet very pleasant days, I took some time off for a trip to Coney Island, where I enjoyed an enormously colorful, American-flavored afternoon. However the real thrill came later in the evening, when I took a dive into the Times Square's billboard jungle. The adrenalin rush the experience of bathing in the sparkling beams of light gave me made this the sexiest moment of my stay in New York.
I’ll be back in New York this coming May, and you will surely see me heading straight for the entrancing lights like an insect once again.
-DAIDO MORIYAMA
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. He produced a collection of photographs, on "Nippon gekijō shashinchō" Though not exclusively, Moriyama predominantly takes high contrast, grainy, black and white photographs within the Shinjuku area of Tokyo, often shot from odd angles. Moriyama's photography has been influenced by Seiryū Inoue, Shōmei Tōmatsu, William Klein, Andy Warhol, Eikoh Hosoe, the Japanese writer Yukio Mishima, the dramatist Shūji Terayama, and Jack Kerouac's "On the Road".
Plexus Co.,Ltd.(Tokyo, Japan) proudly presents Daido Moriyama's lifework series "RECORD" in e-Book for the first time distributing in worldwide scale.
76 pages, Kindle Edition
Published April 10, 2012
About the author
Daidō Moriyama
296 books59 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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