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K
To the dog we say go where the action is; to the cat we say get lost in the back alley; and the bug we send off to the red-light district.
I cannot help but feel that hanging around in the streets of Tokyo day in, day out, and continuing to copy the mundane secular world in all its vulgar glory, is the one thing that defines the meaning of my life devoted to taking photographs. (Daido Moriyama) This book is a collection of new photographic quests about street corners, people, and various other fragments of “K” (a play on the Japanese word “kei” for “landscape”).
＊ Contains the essay “Starting Point and Present Location – Journey to Niépce / Today’s Three.”
＊ Several photos in this book were shot at places other than Tokyo. ＊ All photos contained were taken with a digital camera.
I cannot help but feel that hanging around in the streets of Tokyo day in, day out, and continuing to copy the mundane secular world in all its vulgar glory, is the one thing that defines the meaning of my life devoted to taking photographs. (Daido Moriyama) This book is a collection of new photographic quests about street corners, people, and various other fragments of “K” (a play on the Japanese word “kei” for “landscape”).
＊ Contains the essay “Starting Point and Present Location – Journey to Niépce / Today’s Three.”
＊ Several photos in this book were shot at places other than Tokyo. ＊ All photos contained were taken with a digital camera.
- GenresPhotography
176 pages, Paperback
Published January 1, 2017
1 person want to read
About the author
Daidō Moriyama
291 books56 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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