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A Hunter
"A Hunter” was published in 1972 as the tenth part of a photobook series called “Gendai no Me,” and includes some of Daido Moriyama’s most infamous and respected photographs. For the series, Moriyama—inspired by Kerouac’s “On The Road”—drove through Japan by car, took photos wherever his wheels took him, and substantiated his status as one of Japan’s most interesting photographers.
This faithful new edition features the photobook as well as a carefully designed and researched English booklet that includes essays by Tadanori Yokoo and Shoji Yamagashi as well as invaluable commentary by Moriyama regarding the book as a whole and each individual photograph.
"When I shoot something on a road, I mutate to a hungry hunter."
This faithful new edition features the photobook as well as a carefully designed and researched English booklet that includes essays by Tadanori Yokoo and Shoji Yamagashi as well as invaluable commentary by Moriyama regarding the book as a whole and each individual photograph.
"When I shoot something on a road, I mutate to a hungry hunter."
- GenresPhotographyJapan
112 pages, Hardcover
Published January 1, 2019
19 people 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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February 21, 2024
A classic that still feels unsettled, in flux.
Displaying 1 - 2 of 2 reviews