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Daido Moriyama: How I Take Photographs
'The first thing I always tell anyone who asks me for advice "Get outside".' – Daido Moriyama
Take an inspiring walk with legendary Japanese street photographer Daido Moriyama as he explains his groundbreaking approach to street photography.
For over half a century, Moriyama has provided a distinct vision of Japan and its people. In Daido How I Take Photographs , he offers a unique opportunity for fans to learn about his methods, the cameras he uses, and the journeys he takes with a camera.
Take an inspiring walk with legendary Japanese street photographer Daido Moriyama as he explains his groundbreaking approach to street photography.
For over half a century, Moriyama has provided a distinct vision of Japan and its people. In Daido How I Take Photographs , he offers a unique opportunity for fans to learn about his methods, the cameras he uses, and the journeys he takes with a camera.
208 pages, Paperback
Published July 9, 2019
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550 people want to read
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Displaying 1 - 30 of 36 reviews
February 8, 2020
Enjoyed this book of photos and essays/conversations on street photography. I had never heard of Daido before picking this up in the New Books section of APL, but I liked the concept of a more amateur photographer going on several trips with this “master” and interviewing and writing about how he approaches street photography. Lots of fascinating of lots of more practical/nitty-gritty details, as well as philosophy.
(All that said, I didn’t love the photos quite as much as the conversation, but it was totally worth it for that alone.)
(All that said, I didn’t love the photos quite as much as the conversation, but it was totally worth it for that alone.)
January 8, 2022
By reading how he views photography and thus how he takes photos, it becomes one more way to train your photographic eye and sense. Book is divided into 5 digestible chapters, 20-30% words and 70-80% photos. Relaxing read. Got inspired and my interest in snapshot photography (ie everyday photography) has been rekindled.
January 23, 2020
An outstanding look into one of the most prolific and prominent Japanese photographers ever. Insightful and intriguing.
November 1, 2025
Me ha gustado mucho el formato de este libro, que combina entrevistas al fotógrafo Daido Moriyama con fotografías suyas en distintas localizaciones que va recorriendo a lo largo del libro.
Si te gusta la fotografía, tiene unas reflexiones muy chulas sobre ella. Y resulta muy interesante conocer el punto de vista de este fotógrafo callejero.
Por otra parte, la edición me parece chulisima. Es un libro pequeño, con papel de buen gramaje y calidad en las imágenes sin por ello ser caro. Un formato muy guay y que no es el típico fotolibro pesado y enorme que cuesta hasta cogerlo.
Si te gusta la fotografía, tiene unas reflexiones muy chulas sobre ella. Y resulta muy interesante conocer el punto de vista de este fotógrafo callejero.
Por otra parte, la edición me parece chulisima. Es un libro pequeño, con papel de buen gramaje y calidad en las imágenes sin por ello ser caro. Un formato muy guay y que no es el típico fotolibro pesado y enorme que cuesta hasta cogerlo.
May 20, 2021
An excellent and accessible book with great monochrome photos and interesting conversations about one master's views on photography and life. While of course, I have a totally different life experience and perspective than Moriyama, I also understand the desire that undergirds why a lot of people enjoy photography. It is also very interesting that he points out that photography is a mostly just a record. It is and I think some photos can push our imagination of what could be. If you even generally like photography or art, I would suggest you read this book.
August 15, 2020
Amazing book. It really changed the way I think about photography and I look forward to how it changes my photographs in the future. My only reason for 4 stars is that I wish there was more book to read. The conversations with Moriyama himself are the most interesting part to me but all told those interviews probably only make up a fifth of the book. Still, highly recommend
December 12, 2025
Pulled so much from this small beauty
…My advice to anyone who’s still new to digital photography is, don’t review your shots.”
- Daidō Moriyama
“Don’t think too hard about it beforehand, don’t be too self-conscious or rational - just press the shutter button. There’ll be all the time in the world for other people to come along later and attach whatever implications or “meaning” they like to it.”
- Daidō Moriyama
“You’re not going to develop a discerning eye unless you hone your ability to give something your full and undivided attention.”
- Daidō Moriyama
“One thing I would recommend to do is take shots, lots of shots, of any regular journeys they make in their everyday lives. Apart from being great training for taking snapshots, it’s a way for them to understand how their own powers of observation affect what they see, even with ordinary things. Taking shots over and over again of the same streets will do more than teach them how to take snapshots - it will help them become better photographers all round.”
- Daidō Moriyama
“You’re not going to develop a discerning eye unless you hone your ability to give something your full and undivided attention.”
- Daidō Moriyama
“If you go to places with an agenda related to what’s going on socially or politically, and try to take shots that underpin that agenda, you’re not going to get anywhere. The photographer should just shoot whatever he observes, using all his senses, and if possible unselectively.”
- Daidō Moriyama
“Well, the first thing I tell anyone who asks me for advice is: Get outside. It’s all about getting out and walking. That’s the first thing. The second thing is, forget everything you’ve learned on the subject of photography for the moment and just shoot. Take photographs - of anything and everything, whatever catches your eye. Don’t pause to think. That’s the advice I give people.”
- Daidō Moriyama
“If I had seven lives, I’d be a photographer in every one.”
- Shōmei Tōmatsu
“For me, photography is not the endeavor to create a two-dimensional work of art, I come closer to truth and reality at the very intersection of the fragmentary nature of the world and my own personal sense of time. To differentiate subjective and objective photography is nonsense. The exploration of the possibilities of photography is, in the end, inseparable from the individual’s explorations of the possibilities of life.”
- Daidō Moriyama
“For example, most of my snapshots I take from a moving car, or while running, without the finder, and in those instances one might say that I’m taking pictures more with my body than with my eyes. I think that the process gives my photos more a sense of place and existence, more atmosphere…Whether it’s the perception of a certain object, or the atmosphere of a situation, if one always thinks about the composition of the picture, one will lose the freshness of the moment, and little by little the photos reveal their contemplated and formatted nature.”
- Daidō Moriyama
“I brush aside words and ideas, and focus on photography as a means of expressing a message that is both physiological and phenomenological. Without that framework, my approach is very simple—there is no artistry, I just shoot freely.”
- Daidō Moriyama
…My advice to anyone who’s still new to digital photography is, don’t review your shots.”
- Daidō Moriyama
“Don’t think too hard about it beforehand, don’t be too self-conscious or rational - just press the shutter button. There’ll be all the time in the world for other people to come along later and attach whatever implications or “meaning” they like to it.”
- Daidō Moriyama
“You’re not going to develop a discerning eye unless you hone your ability to give something your full and undivided attention.”
- Daidō Moriyama
“One thing I would recommend to do is take shots, lots of shots, of any regular journeys they make in their everyday lives. Apart from being great training for taking snapshots, it’s a way for them to understand how their own powers of observation affect what they see, even with ordinary things. Taking shots over and over again of the same streets will do more than teach them how to take snapshots - it will help them become better photographers all round.”
- Daidō Moriyama
“You’re not going to develop a discerning eye unless you hone your ability to give something your full and undivided attention.”
- Daidō Moriyama
“If you go to places with an agenda related to what’s going on socially or politically, and try to take shots that underpin that agenda, you’re not going to get anywhere. The photographer should just shoot whatever he observes, using all his senses, and if possible unselectively.”
- Daidō Moriyama
“Well, the first thing I tell anyone who asks me for advice is: Get outside. It’s all about getting out and walking. That’s the first thing. The second thing is, forget everything you’ve learned on the subject of photography for the moment and just shoot. Take photographs - of anything and everything, whatever catches your eye. Don’t pause to think. That’s the advice I give people.”
- Daidō Moriyama
“If I had seven lives, I’d be a photographer in every one.”
- Shōmei Tōmatsu
“For me, photography is not the endeavor to create a two-dimensional work of art, I come closer to truth and reality at the very intersection of the fragmentary nature of the world and my own personal sense of time. To differentiate subjective and objective photography is nonsense. The exploration of the possibilities of photography is, in the end, inseparable from the individual’s explorations of the possibilities of life.”
- Daidō Moriyama
“For example, most of my snapshots I take from a moving car, or while running, without the finder, and in those instances one might say that I’m taking pictures more with my body than with my eyes. I think that the process gives my photos more a sense of place and existence, more atmosphere…Whether it’s the perception of a certain object, or the atmosphere of a situation, if one always thinks about the composition of the picture, one will lose the freshness of the moment, and little by little the photos reveal their contemplated and formatted nature.”
- Daidō Moriyama
“I brush aside words and ideas, and focus on photography as a means of expressing a message that is both physiological and phenomenological. Without that framework, my approach is very simple—there is no artistry, I just shoot freely.”
- Daidō Moriyama
Read
February 17, 2024This is a nice, gentle introduction to the work of cult photographer Daido Moriyama, and the style and philosophy he incorporates.
We follow our narrator, Takeshi Nakamoto, on a handful of wanderings and adventures with Daido Moriyama, as he embarks on his photographic ecapades through various Japanese landscapes. Informality is the mainstay of this book, as the short conversations - each focusing on a separate aspect of the photography world - work to highlight some of the thoughts that Moriyama has around photography and its inner workings.
Moriyama speaks about locations as a vital aspect of photo taking, subjects to focus on, film vs digital work, and surprisingly a lot more for what is a short text.
The informal, conversational nature of the text works particularly well in partnership with the photos in this collection. This is not only due to how “of-the-moment” and informal the photos themselves are, but also because of the views Moriyama holds. His work is so off the cuff and raw, that it only makes sense for him to speak so informally about his craft. And even that very word, “craft”, would be one that you feel Moriyama might balk at. He’s a quantity over quality guy. The quality will push its way to the top of the pile, just keeping taking the damn photos. He definitely isn’t a perfectionist, he merely has a natural eye for what makes an interesting shot, whether that be through composition, story, subject, shadows, etc.
The shadows are viscerally on the nose in these photos. It’s a staple feature of a lot of the work that Moriyama puts out there, but these shadows feel particularly at the forefront. Borders are made with the darkness from which Moriyama hides, to the point that they morph inwards to create a whole new frame for each piece. These borders add another dimensional layer that separates each photo, and they would otherwise maybe feel flat without them. Subjects themselves melt into the outlines of the work, as they walk, bike, and run their way out of frame.
I didn’t particularly warm to the coloured photos that Moriyama tries out around the halfway point. He decides to pick up a digital camera (remember, quantity first and then quality comes second as a natural progression), and tries out some colour photography as a way to change things up. They have their place, and I appreciate that he can find interesting shots in plenty of other styles and techniques, but that play with shadows that I just highlighted feels completely removed. The morphological aspects of B&W Moriyama feel alien, the colour photos feel too normal.
My last complaint is around the printing and format. A lot of the photos here are spread across two pages, so it would have been nice to have a smoother transition between left and right sides of the book. The stiffness of the spine leads to a loss of vital elements of certain photos. Perhaps it adds to the alienness of certain abstract pieces, but I would have liked to indulge in the larger pieces at their full value.
We follow our narrator, Takeshi Nakamoto, on a handful of wanderings and adventures with Daido Moriyama, as he embarks on his photographic ecapades through various Japanese landscapes. Informality is the mainstay of this book, as the short conversations - each focusing on a separate aspect of the photography world - work to highlight some of the thoughts that Moriyama has around photography and its inner workings.
Moriyama speaks about locations as a vital aspect of photo taking, subjects to focus on, film vs digital work, and surprisingly a lot more for what is a short text.
The informal, conversational nature of the text works particularly well in partnership with the photos in this collection. This is not only due to how “of-the-moment” and informal the photos themselves are, but also because of the views Moriyama holds. His work is so off the cuff and raw, that it only makes sense for him to speak so informally about his craft. And even that very word, “craft”, would be one that you feel Moriyama might balk at. He’s a quantity over quality guy. The quality will push its way to the top of the pile, just keeping taking the damn photos. He definitely isn’t a perfectionist, he merely has a natural eye for what makes an interesting shot, whether that be through composition, story, subject, shadows, etc.
The shadows are viscerally on the nose in these photos. It’s a staple feature of a lot of the work that Moriyama puts out there, but these shadows feel particularly at the forefront. Borders are made with the darkness from which Moriyama hides, to the point that they morph inwards to create a whole new frame for each piece. These borders add another dimensional layer that separates each photo, and they would otherwise maybe feel flat without them. Subjects themselves melt into the outlines of the work, as they walk, bike, and run their way out of frame.
I didn’t particularly warm to the coloured photos that Moriyama tries out around the halfway point. He decides to pick up a digital camera (remember, quantity first and then quality comes second as a natural progression), and tries out some colour photography as a way to change things up. They have their place, and I appreciate that he can find interesting shots in plenty of other styles and techniques, but that play with shadows that I just highlighted feels completely removed. The morphological aspects of B&W Moriyama feel alien, the colour photos feel too normal.
My last complaint is around the printing and format. A lot of the photos here are spread across two pages, so it would have been nice to have a smoother transition between left and right sides of the book. The stiffness of the spine leads to a loss of vital elements of certain photos. Perhaps it adds to the alienness of certain abstract pieces, but I would have liked to indulge in the larger pieces at their full value.
July 31, 2024
Some quotes I liked from this book:
'It was something I had always been aware of. But it came home to me in a very concrete way when I was getting to grips with a collection of New York photos which I'd first put out some years before, and the series I took in Hokkaido. What I learned from these experiences is that the passage of time has this ability to completely erase things from your memory. And what you're left with is simply what's in the photograph. Whatever it is that you thought you were capturing on the negative the instant you pressed the shutter button - it doesn't take long for that to slip from your mind. Of course, in the instant you press the shutter button, a memory of the image flashes across your mind, together with the various things you're thinking about in that moment - aesthetic considerations, concepts, desires. But whatever's in the photograph stands completely independent of those thoughts. That is what remains - and it's completely independent. That is what calls to you years, maybe decades, later. "Hey! What do you think?" That's what's so amazing. That's why photography is so powerful?’
'I started to feel very preoccupied by all the things 1 was failing to capture as sped along. Call it a kind of melancholy - a sense of loss - that I felt about all the images I was conscious had now passed out of my grasp, and that were now behind me on the road.... Something essential, something indefinable, that I was somehow letting escape - like water draining through a sieve. The feeling started to bother me more and more. So in the end I decided to stop taking shots from cars. I decided it was better to get out and walk?’
‘In this book, I wanted to delve into Moriyama's views on snapshot photography through conversations with the man himself. If I've managed to pinpoint any one thing that epitomizes the man and his views on photography, it is this stance of endless self-questioning. To engage in street photography like Moriyama is to never stop posing questions - of the world and of oneself - through the camera and through photography.’
'It was something I had always been aware of. But it came home to me in a very concrete way when I was getting to grips with a collection of New York photos which I'd first put out some years before, and the series I took in Hokkaido. What I learned from these experiences is that the passage of time has this ability to completely erase things from your memory. And what you're left with is simply what's in the photograph. Whatever it is that you thought you were capturing on the negative the instant you pressed the shutter button - it doesn't take long for that to slip from your mind. Of course, in the instant you press the shutter button, a memory of the image flashes across your mind, together with the various things you're thinking about in that moment - aesthetic considerations, concepts, desires. But whatever's in the photograph stands completely independent of those thoughts. That is what remains - and it's completely independent. That is what calls to you years, maybe decades, later. "Hey! What do you think?" That's what's so amazing. That's why photography is so powerful?’
'I started to feel very preoccupied by all the things 1 was failing to capture as sped along. Call it a kind of melancholy - a sense of loss - that I felt about all the images I was conscious had now passed out of my grasp, and that were now behind me on the road.... Something essential, something indefinable, that I was somehow letting escape - like water draining through a sieve. The feeling started to bother me more and more. So in the end I decided to stop taking shots from cars. I decided it was better to get out and walk?’
‘In this book, I wanted to delve into Moriyama's views on snapshot photography through conversations with the man himself. If I've managed to pinpoint any one thing that epitomizes the man and his views on photography, it is this stance of endless self-questioning. To engage in street photography like Moriyama is to never stop posing questions - of the world and of oneself - through the camera and through photography.’
May 11, 2025
Some passages to remember.
“Take photographs - of anything and everything, whatever catches your eye. Don't pause to think.”
“What I learned from these experiences is that the passage of time has this ability to completely erase things from your memory. And what you're left with is simply what's in the photograph. Whatever it is that you thought you were capturing on the negative the instant you pressed the shutter button - it doesn't take long for that to slip from your mind. Of course, in the instant you press the shutter button, a memory of the image flashes across your mind, together with the various things you're thinking about in that moment - aesthetic considerations, concepts, desires. But whatever's in the photograph stands completely independent of those thoughts. That is what remains - and it's completely independent. That is what calls to you years, maybe decades, later. "Hey! What do you think?" That's what's so amazing. That's why photography is so powerful!”
“'That's why I always tell my students to choose their subject and observe it closely. Give it your undivided attention first, and only then capture it on camera. And take lots of shots. Because you won't see what it is you're taking unless you take lots of shots - at least, that's true with street shots.
Without a good number of shots, you won't really see what it is you're taking - you won't understand what you want to take. And if you can't see what's in front of you, and have no idea of what you want, how do you expect to be able to understand anything about photography?”
“Take photographs - of anything and everything, whatever catches your eye. Don't pause to think.”
“What I learned from these experiences is that the passage of time has this ability to completely erase things from your memory. And what you're left with is simply what's in the photograph. Whatever it is that you thought you were capturing on the negative the instant you pressed the shutter button - it doesn't take long for that to slip from your mind. Of course, in the instant you press the shutter button, a memory of the image flashes across your mind, together with the various things you're thinking about in that moment - aesthetic considerations, concepts, desires. But whatever's in the photograph stands completely independent of those thoughts. That is what remains - and it's completely independent. That is what calls to you years, maybe decades, later. "Hey! What do you think?" That's what's so amazing. That's why photography is so powerful!”
“'That's why I always tell my students to choose their subject and observe it closely. Give it your undivided attention first, and only then capture it on camera. And take lots of shots. Because you won't see what it is you're taking unless you take lots of shots - at least, that's true with street shots.
Without a good number of shots, you won't really see what it is you're taking - you won't understand what you want to take. And if you can't see what's in front of you, and have no idea of what you want, how do you expect to be able to understand anything about photography?”
January 31, 2025
"Of course, a sharp eye is fundamental. And of course you have to be alert, sensitive, responsive, at ease in your own body, so that you can react to the stimuli around you immediately. But above all, you have to have desire. That desire the photographer must feel in the instant he takes the shot. If you don't have desire, you won't see what's there. Desire is all around us: there's a huge limitless supply of it. It's important to be true to that desire."
"It's like a cast net, your desire compels you to throw it out. You throw the net out, and you snag whatever happens to come back. It's like an accidental moment."
"The only way you can ensure that a shot will ever be at all meaningful is if you take it. Don't think too hard about it beforehand, don't be too self conscious or rational - just press the button. There'll be all the time in the world for other people to come along later and attach whatever implications or 'meaning' they like to it."
"As a photographer that takes everything as it comes, and as a person who makes no hierarchical distinctions between different kinds of things, Moriyama tells me he does not differentiate between different kinds of trips."
"You say, 'freely', but I dont know. That's a question I'm always asking myself - am I really 'free', in the true sense? I'm continually in dialogue with myself, with another self who wants to disprove, or at least raise questions about all the statements I make."
"It's like a cast net, your desire compels you to throw it out. You throw the net out, and you snag whatever happens to come back. It's like an accidental moment."
"The only way you can ensure that a shot will ever be at all meaningful is if you take it. Don't think too hard about it beforehand, don't be too self conscious or rational - just press the button. There'll be all the time in the world for other people to come along later and attach whatever implications or 'meaning' they like to it."
"As a photographer that takes everything as it comes, and as a person who makes no hierarchical distinctions between different kinds of things, Moriyama tells me he does not differentiate between different kinds of trips."
"You say, 'freely', but I dont know. That's a question I'm always asking myself - am I really 'free', in the true sense? I'm continually in dialogue with myself, with another self who wants to disprove, or at least raise questions about all the statements I make."
July 17, 2025
Moriyama's photography is very compelling to me for its relatively unembellished and head-on approach to capturing human activity and locations. His early work is especially interesting to me because of the feelings of subdued darkness and lingering anxiety that seem to come across in them. So when I spotted this on the shelf at the Book Loft in Columbus I couldn't resist the chance to see what makes him tick.
I was a little reassured to find the view of him shown in these pages to be rather self-effacing and unpretentious. As well as relating to his struggles with artistic burnout and his frustration with restrictive "rules" about what photography "should" be, I found his advice about photography to be useful despite (or perhaps because of) how concise it was.
The format of the book served all this quite well, and it's interesting to imagine what it would be like to be in the author's shoes, watching a famous photographer as they work. The reader is kind of let into this experience through the book.
Although some of the double-page spread photos are harmed somewhat in the reproduction by the crease of the book's spine, for the most part the quality of the plates in terms of color and clarity is very good. It's a treat to flip through and take closer looks at them.
All in all, recommended for those interested in photography.
I was a little reassured to find the view of him shown in these pages to be rather self-effacing and unpretentious. As well as relating to his struggles with artistic burnout and his frustration with restrictive "rules" about what photography "should" be, I found his advice about photography to be useful despite (or perhaps because of) how concise it was.
The format of the book served all this quite well, and it's interesting to imagine what it would be like to be in the author's shoes, watching a famous photographer as they work. The reader is kind of let into this experience through the book.
Although some of the double-page spread photos are harmed somewhat in the reproduction by the crease of the book's spine, for the most part the quality of the plates in terms of color and clarity is very good. It's a treat to flip through and take closer looks at them.
All in all, recommended for those interested in photography.
January 31, 2025
My girlfriend got me this for Christmas alongside a new film camera and it was the perfect pair of gifts!
I’m trying to get more into my film photography and have really liked a lot of Moriyama’s style since seeing an exhibition of his last year. I really like his photography philosophy and am trying to incorporate his themes of desire and instinct more into my own style. He is a big reason why I’ve been drawn to try more street photography.
I find he takes a lot of the pomposity and snobbishness out of photography, and really makes it feel like an art style that can be attained by everyone in their own idiosyncratic ways.
This was a beautifully composed book filled with some great insights and interviews with the man himself, along with some of the photos he had recently taken to accompany the book. Exactly what I thought it would be, and exactly what I wanted.
I’m trying to get more into my film photography and have really liked a lot of Moriyama’s style since seeing an exhibition of his last year. I really like his photography philosophy and am trying to incorporate his themes of desire and instinct more into my own style. He is a big reason why I’ve been drawn to try more street photography.
I find he takes a lot of the pomposity and snobbishness out of photography, and really makes it feel like an art style that can be attained by everyone in their own idiosyncratic ways.
This was a beautifully composed book filled with some great insights and interviews with the man himself, along with some of the photos he had recently taken to accompany the book. Exactly what I thought it would be, and exactly what I wanted.
February 19, 2023
This book has definitely whetted my appetite for Moriyama. Having just started picking up my camera and wanting some help in taking street photography I came across this book. It was reference in David Gibson’s ‘street photographers manual’ so I thought I would give it a read. This is an interesting book. As other reviews have written, the conversations between Moriyama and Nakamoto are interesting and the best bit of the book. Maritama’s photos are good. They aren’t really my style but I definitely got something from looking at them. There is some good advice in this book. “Take photographs of anything and anywhere, whatever catches your eye. Don’t pause to think. That’s the advice I give people.” I literally did just that and was pleased with the results.
November 13, 2023
“That desire a photographer must feel in the instant he takes the shot. If you don’t have desire, you won’t see what’s there. Desire is all around us; there’s a huge, limitless supply of it.” Im this collection of essays and interviews you boils down snapshot photography. It is capturing of the human essence or the “smell of humanity” not always about the beauty of the picture itself. It communicates what is sacred about that environment without putting all the weight on getting the ‘perfect’ photo
January 23, 2026
Simply by describing bits from this book to my dad, he went off and bought a Sony snapshot camera and seriously considered buying a Ricoh GRIII. Moro Yama has a fascinating relationship with photography and, creatively speaking, is always interrogating the point of what he does and why. One’s memory of what they were doing, what they were feeing, at the time will go - what remains is the photograph.
June 16, 2022
A simple book with some minor insights to this particular photographers process. Nothing about it really opened my mind as a photographer other than a few words of wisdom. It’s really just an aging artist curmudgeonly talking about why he does things his way and why nothing else matters. 🤷🏽♂️ he even says there’s no rhyme or reason to how he does things.
June 21, 2023
Great read. The chapter on shooting from a moving vehicle actually opened up Daido's vision for me. I used to see his snapshot aesthetic as disposable but now I see it as a never ending transient feed of information. Sort of like you experience when driving down the highway.
Still not sure I'm a fan of his work. But I think I understand it a bit better now.
Still not sure I'm a fan of his work. But I think I understand it a bit better now.
July 31, 2020
This is not a book by Daido Moriyama but a few documented street photography excursions with him by the author, Takeshi Nakamoto and these don't provide much insight into Daido Moriyama's style and philosophy behind taking photos.
June 20, 2024
Cinco paseos por Japón en compañía del maestro de la fotografia callejera. Ya sea en Ginza o en la carretera, Daido Moriyama dispara primero y piensa después. Es un estilo espontáneo que no acaba de encajarme pero siempre va bien aprender de otras maneras de hacer las cosas.
January 4, 2025
A perfect introduction to the work of Daido Moriyama. Although the written text is quite short, it left me wanting to read more about the man and his work, however the photographs in the book show what makes an interesting photograph, and no amount of essays are needed for that.
February 24, 2025
Lots of interesting photos and a few slim chapters with Moriyama's thoughts on the art -- I appreciated that his advice was mostly philosophical rather than technical, while still being very unfussy and practical.
September 4, 2019
Maravilla para disfrutar y reflexionar.
October 3, 2020
Any insights into the work of the master is worth reading.
February 25, 2021
More great examples of his photography. Great advice “get outside!”
November 13, 2021
Wonderful photograph’s from Japan’s foremost snapshot photographer.
March 4, 2024
Pretty good photos in this. Dude’s a little up his own ass sometimes but gave good advice and inspo 👍
April 5, 2024
A fantastic book, providing insights into Daido’s approach and perspective to his photography. Up there with the best photo books I’ve read.
June 3, 2024
Definitely a book I know I will keep going back to.
June 7, 2024
loved it. the sad thing is that these days this book would most likely just be a substack or a anecdote on the authors blog
Displaying 1 - 30 of 36 reviews