Daido Moriyama

• Akio Nagasawa 2024
• Softcover, 1st edition. 70p
  
• New

'While taking snapshots on the streets, I sometimes find myself drawn to flowers and click the shutter button. This book is a collection of my ongoing commitment for those photos.'

– by Daido Moriyama

Silkscreen canvas covered limited edition of 350 signed and numbered copies.

Due in stock approx 20 December, available for pre-order now.

• Thames & Hudson 2024
• Hardback, 1st edition. 352p
  
• New

The direct sequel to a classic photobook. An exceptional selection of photographs from Daido Moriyama's seminal magazine publication from 2017 to today.

Between June 1972 and July 1973, Daido Moriyama produced his own magazine publication, Kiroku, which was then referred to as Record. It became a diaristic journal of his work as it developed. In 2006, encouraged by the Japanese publisher Akio Nagasawa, Moriyama was able to resume publication of Record.

The first thirty issues of Record were edited by Mark Holborn into the now classic 2017 photobook of the same title. Daido Moriyama: Record 2, also edited by Mark Holborn, picks up from where the original left off, with a selection of images and texts by Moriyama from issues thirty-one to fifty of the magazine. With Moriyama now in his eighties, Record 2 will likely be the end of the story. But despite his advancing years, the work is unmistakably Moriyama's aesthetic—fiercely contrasted images with fragmentary, intensely composed frames that express the vision of one of the greatest photographers.

• Akio Nagasawa 2024
• Softcover, 1st edition. 104p
• New 

My daughter took me for a ride in her car the other day, and drove me to Yokohama. I hadn’t been there for quite a long time, so I was happy to roam the streets of Yokohama with my camera in my hand, always ready to shoot. We parked the car near Kannai Station, and after walking for a while, we arrived at Isezakicho. When I looked up, I noticed (the female singer) Mina Aoe smiling down at me from a giant billboard, and being happily reminded once again that I was in Yokohama, I took quite a few snapshots. That was when I caught sight of a group of cheerful girls parading on the other side of the street, which instantly had me clicking away to all sides. The streets were getting crowded, and seeing the skyscrapers of “Minatomirai” behind the buildings along the avenues, I couldn’t help but feel strongly impressed at how much Yokohama had changed.

Before – in fact quite a long time ago – I often made trips to Tokyo together with the photographer Takuma Nakahira, who was also living in Zushi back then. We would take a train on the Yokosuka Line, and then change to the Toyoko Line at Yokohama. But once we were at Yokohama, instead of jumping on the next train, it happened ever so often that we walked out of the station on a whim, down to the Sakuragicho area, and into a coffee shop where we would end up drinking coffee for hours. Even when I suggested walking around a bit more and taking photos in the neighborhood, Nakahira was only interested in the scenery around the port of Kawasaki at night, so over his coffee he just kept talking happily about things and people. like Godard, or the songs of Mina Mazzini, my favorite singer at the time.

When I think about it now, my only memories related to Yokohama are those of Nakahira shooting like crazy when the two of us eventually went to the port of Kawasaki at night, and then again at the time of his exhibition at the Yokohama Museum of Art.
The present cityscape of Yokohama has piqued my curiosity.

I guess I will continue going there every now and then, and take a bunch of photos."

– Daido Moriyama

Signed copy.

• Nazraeli Press 2024
  
• Hardback, 1st edition, 16p with print
  
• New
  

In 2015, Daido Moriyama stopped in Los Angeles to photograph the westside following a museum opening of his work in Houston. For two days, he photographed in Santa Monica, Venice and the Marina, in alleyways and private homes. The resulting photographs are presented in his newest contributions to our One Picture Book Series: Daido "Uno" (black and white) and Daido "Dos" (color).

Small format hardback 6" x 8 1/2", 16 pages. Limited to 500 numbered copies, each including a 5"x7" original print that has been signed by the artist.

• Akio Nagasawa 2024
• Softcover, 1st edition. 104p
• New 

'Let’s assume there is some brainwave that suddenly prompts me to think about the present state of photography in Japan.

Fact of the matter is, I’m quite simply not really interested in such things in the first place, because no matter what I came up with as an answer, you would reply that photography and photographers in Japan, and just about everywhere else in the world, have long been living in their own respective bubble, seriously dedicated to their own thing in their own reality. That would make perfect sense to me, and as a result, I would once again get caught up in a state of mind unable to pursue – let alone answer – the question what exactly photography means to me now.

A photograph is something that fragmentarily reflects the sensibility and sensitivity of a photographer in the very moment he or she releases the shutter, and the things in it instantly become the photographer’s own. But once it is reproduced and printed or exhibited, it disperses into the multifariously shaded folds of the audience’s gaze, where it establishes itself as a unique and hard new reality, and as a manifestation of some kind of memory, which again works as a mighty, enigmatic tool that connects past, present and future.

It is nothing more and nothing less than a camera, and we photographers can only take our hats off to Monsieur Nicéphore Niépce and thank him for inventing it.
These are the things that I have on my mind as I look back on another day of wandering around and taking snapshots in the streets; another day of asking myself what photography is all about, and being reminded that it’s just the great thing that it is.'

- Daido Moriyama

Signed copy.

• Akio Nagasawa 2024
• Softcover, 1st edition. 34p
• New 

'One day in the early 1990s, I tried some makeup because I was too bored.

My appearance was so ridiculous that I took photos of it.

This is me on that day.'

- Daido Moriyama

Edition of 350 signed and numbered copies with a silkscreen printed canvas cover.

• Akio Nagasawa 2024
• Softcover, 1st edition 120p
• New

"Off the main street across from Yokosuka station on the Keihin Kyuko, there is an entertainment district known as “Wakamatsu Market,” that has retained much of the good old Showa flair. As I currently have some other business in the area, I’m walking the streets of Yokosuka quite frequently these days, and realized that visited Wakamatsu Market for the first time since walking around here several years ago to take photos for an earlier issue of Record. Once I slipped into the area’s back streets, there was a smell in the air that reminded me of Shinjuku’s “Golden-gai.” It’s a smell that I like, an environment that my body seems to feel comfortable in, so whenever I pass through it now, I can’t do so without repeatedly pressing my camera’s shutter. On the other hand, however, the Dobuita-dori shopping street that has been synonymous with Yokosuka more than any other place, and where I used to hang out to take pictures around the clock so to speak, has transformed into a place that I now find utterly boring. Not that the neighborhood has changed completely. Even the notorious “sukajan” jacket shops are still there. It is the atmosphere in the streets, the people that I meet here now, the way everything smells, that is so different now. I know that it’s useless to expect everything to be just as I remember it from roaming the streets that I identified with Yokosuka some 60 years ago. Nonetheless, I ask myself where in the world those unique nightly sceneries, those ladies swaggering through the dusky streets with the American soldiers, have all gone. As a matter of course, things change with the times, with age and through the generations, and this place makes no exception. But at the same time, there are those things that do remind me of the Yokosuka that I know so well: the area around the station on the Yokosuka Line, the sea you could see from Shiori station, the ships and cranes on the military base…

So I find myself scouring this neighborhood with a wry smile now. Could it be that Yokosuka is where my photographing career started, and where ends? No way! C’mon Daido, you’ve got work to do!

I like it though, Yokosuka."

– from the afterword by Daido Moriyama

Signed copy.

• Dashwood/Session Press 2023
• Softcover, 1st edition,424p
  
• New

With the publication of his serialized photo-essay Hikari to Kage (Light and Shadow) in the first issues of the magazine, Shashin Jidai, Daido Moriyama announced his return to photography after nearly a decade. Moriyama had been mired in an acute creative slump from his mid thirties, since the publication of his seminal book, Shashin yo Sayonara (Farewell Photography) in 1972.  Unable to take nearly any photos for a prolonged period, he turned to illicit drugs, ultimately wasting away to little more than 40 kgs before he hit physical and emotional rock bottom.  Lured back by Akira Hasegawa, Shashin Jidai’s editor, he was invited to contribute photographs for each issue.  This began a long relationship between Moriyama and Shashin Jidai.  He would ultimately make a total of six serialized essays that appeared through sixty-three issues (in every issue but one) until its’ demise in April 1988.  During this period Moriyama worked almost exclusively for Shasin Jidai and was given a free hand to explore and experiment and in the process evolved a new aesthetic that still informs his photography today.  Tragically, more than eighty percent of his negatives were lost from this pivotal body of work.  In Daido Moriyama Shashin Jidai 1981–1988 the complete run of essays or chapters that appeared concurrently in Shashin Jidai are brought together for the first time, representing the only way to appreciate them without acquiring the original magazines themselves.  Each complete essay is reproduced alongside a selected portfolio of images and written essays by Moriyama from each chapter as they appeared in the original magazines.  Text appears in Japanese with English translation.

In over 400 pages it provides access to a pivotal period in the evolution of one of the most revered and influential photographers of the twentieth century, as yet undocumented in book-form. 

Accompanying there is a short essay “The Photo Age: Daido Moriyama and Shashin Jidai” by Kotaro Iizawa. Translation throughout by Daniel González, Essays by Daido Moriyama, Text by Kotaro Iizawa, Design by Geoff Han, Editing by David Strettell and Miwa Susuda.

Softcover with poster.

• Akio Nagasawa 2023
• Softcover, 1st edition, 72p
• New

A collection of works featuring stray cats that Daido Moriyama has encountered on the streets.

Signed and numbered edition of 350 copies with a silkscreen printed canvas cover.

• Nazraeli 2007
• Softcover, 1st edition, 400p
• New

"In Spring, I am going to go to Hawaii to photograph. I'm so excited, and a little anxious - I've never been there before. The idea of Hawaii has been stuck in my mind for many, many years, just as the idea of a place. I try to imagine what it's like, and I have a certain image of it - a nostalgic place, a place where time has stopped. When I get there, I'll probably find out it's nothing like that. . . ." - Daido Moriyama, 2004

Three years and five trips later, Daido Moriyama created a book of photographs of what he did find in Hawaii.

1st Nazraeli edition of 500 copies, unsigned.

• Akio Nagasawa 2023
• Softcover, 1st edition, 132p
• New"Even now that it’s the end of August, it’s still quite hot outside.

• Sokyusha 2023
  
• Hardback, 1st  edition
• New

A rare time capsule from the 1980s

The story of Daido Moriyama’s photobook “1980s Remnants” begins in 1987, when Moriyama handed Michitaka Ota (of photobook publisher Sokyusha) a box filled with one thousand of his photographs. Some photos from the box were published in “A Journey to Nakaji” later that year and, more than ten years later, in the 1999 photobook “Dreams of Water.” Moriyama insisted that Ota keep the box of photographs, and so they stayed in a corner of Ota’s apartment. A recent conversation brought the box back to mind, and finally, writes Ota, “I was pleased to find that I now can give them some shape.”

Even though the more than 30 years that have passed between the creation of these photographs and their eventual publication becomes part of their charm and magic, these 1980s Moriyama snapshots – of streets and textures and the beauty of urban chaos and, somewhat atypically, plants and floral wildlife – remain fascinating in their own right.

Edition of 300 copies.

• Akio Nagasawa 2023
• Softcover, 1st edition
• New
  

Yesterday, my daughter drove me and my wife to Kami-Ooka, a town south of Yokohama. We had already been there two weeks earlier, and as I had no business accompanying the ladies on their shopping spree, I spent a little over an hour walking around with my camera, in the area around the station that is crowded with people and tall buildings. Quite naturally, the tour also led me to a place that I always visit, and that I have decided to refer to as my “oasis number three.” On one side of a 50-meter stretch of a narrow alley between the back of a store and the Keihin Kyuko line, there are several juice stands, and sandwiched between them, a number of ashtrays are admirably standing and waiting for smokers like myself. There’s always a bunch of folks, guys and ladies alike, puffing away on their cigarettes as if there was no tomorrow. One of the bars has some concrete steps in front of it that are just right for sitting on, and in that “oasis,” I like to spend some quality time smoking while observing the neighborhood through my pocket camera, and taking the occasional snapshot. There are quite a lot of ladies, and also many blue-collar type guys, and they all come together here for a chat and a puff.

Back home, I found myself alone in the kitchen at night, and while having another cigarette or two, I reviewed the results of my own shooting spree in the alleys of Kami-Ooka. “I guess two or three of them will be alright for Record,” I concluded while thinking about the next issue. I remembered also photographing a long line of people and wondered what they were queueing up for, while lighting another cigarette. Another day in the life of the photographer that I am was casually drawing to an end. And tomorrow, I thought, I’m going to take a stroll around Ofuna.

(Number one and two of my own private oases are places that I carry in my heart, and I won’t tell anyone about them, unless they’re heavy smokers just like me!)

– from the afterword by Daido Moriyama

Signed copy.

• Match & Co 2016
• Hardback, 1st edition
• New

After Dazai and Daido Moriyama: Terayama, the third entry in Match & Company’s literary collaboration series with Daido Moriyama. Photographs by Daido Moriyama are paired with Oda Sakunosuke’s 1946 short-story “At the Horse Races” to pay tribute to one of Japan’s literary treasures.

“For this project, I paired photos of Osaka, taken by Daido Moriyama, with the short story “At the Horse Races”, written by Sakunosuke Oda in 1946, and edited them into this book. […]
I told Moriyama I wanted to create a book that, by pairing them together, would give an entirely new layer of expression to both his photographs of Osaka and the words of Sakunosuke Oda.

My trick to let two artists, each with a strong personality, meet within the space of a book to stimulate each other, has worked.”

• AKIO NAGASAWA 2022
• Softcover, 1st edition, 72p
• New

"When I arrived in Sapporo in June, it was so cold that the light purple clusters of lilac in the alleys and under the eaves were trembling in the cold air. While other parts of Japan had entered the rainy season, here the wind just kept blowing for days on end, and the streets and avenues were tinted white instead. Keeping the promise that I had firmly made to myself, I grabbed my camera every morning and took to the streets, with the regularity of an office worker, and no intention to meet any friend or acquaintance. I spent most of these three months on my own. Other than the very basic daily conversations – buying a ticket at the station, ordering a coffee, or making the occasional phone call – I was just keeping my mouth shut. I soon ran out of sleeping pills, and as I didn’t drink, all I could do was spend the long nights reading books. The daily photo shootings weren’t really fruitful, and there I was, sitting in my freezing apartment, at my wit’s end with my progressing mix of depersonalization, aphasia and insomnia. So as, in other words, my lifestyle was from the very onset based on that fawning, illusional idea of escape and isolation, my only justification that was taking photographs, was easily reversed from the true intention that it used to be, to mere pretense. Those days of feeling guilty went by one after another, and before the summer ended, I decided to go back to Tokyo. At the end of the day, I haven’t made any progress whatsoever, but what I do have, as a proof of my endless walks to miscellaneous places, are 250 used rolls of film."

– from the afterword by Daido Moriyama

Signed and numbered edition of 600 copies, with a silkscreen canvas cover.

• Akio Nagasawa 2022
• Softcover, reprinted edition, 352p
• New

A complete reproduction of the photobook Daido hysteric no.4 published by Harajuku fashion brand 'HYSTERIC GLAMOUR' in 1993

Signed and numbered edition of 900 copies. 365 x 315 mm, 352p.

• Akio Nagasawa 2021
• Softcover, 1st edition
• New

"She called herself Shinobu in Shinjuku, Hiroko in Minami, Naomi in Nishiki, Yukari in Nakasu. Rumor has it that she is now living quietly in Ishikari where she was born, under the name she was given by her parents. Momoe. I still think of her every once in a while.

This is a profile of her that lives on in my memory."

- Daido Moriyama

Momoe is the extra issue of a four books new series by Daido Moriyama 'Woman in the Night'.

Edition of 350 signed and numbered copies with a silkscreen printed canvas cover.

• Akio Nagasawa 2021
• Softcover, 1st edition
• New

'There was a woman called Naomi in the Nishiki area in Nagoya.
She was a person who loved cars. I often took her for a drive.
It’s already three years since she disappeared from Nishiki.
Even now, I still think of her sometimes.
This is a profile of her as she appears in my memory.'

Naomi is the third volume of a four books new series by Daido Moriyama 'Woman in the Night'.

Silkscreen canvas covered signed and numbered edition of 350 copies only.  

• Getsuyosha 2018
• Hardback
• Near fine - see below

The very first photobook by legendary Japanese photographer Daido Moriyama, “Japan: A Photo Theater,” available again in a renewed edition.
Originally published in 1968 – the year which also saw the launch of the influential Provoke magazine – the book already demonstrates Moriyama’s trademark visual style. On invitation of Japanese writer Shuji Terayama, Moriyama began photographing members of a traveling theater group, adding shots of dwarf show dancers, strip clubs, street performers, fetuses in formaldehyde containers and other motifs.

Please note that this Japanese edition does not feature the book with English translations of Shuji Terayama’s and Daido Moriyama’s writings. The book itself differs in minor details from the English version (e.g., a cover instead of box, different publisher logos, list of photographs contained within the book itself rather than in the English-language booklet).

Final copy with a few faint indentations to dust jacket, otherwise as new.

• Akio Nagasawa 2019
• Softcover, 1st edition
  
• New
  

The 4th in a series of hand-bound Moriyama publications with silkscreen-printed covers features a series of Moriyama's most memorable self-portraits from over the years.

Signed and numbered edition of 350 copies only.

• Akio Nagasawa 2019
  
• Hardback, facsimile edition
  
• new

“Light and Shadow,” Daido Moriyama’s classic from 1982, finally available again in a new edition by Bookshop M & Getsuyousha.

The photobook marked Moriyama’s return to photography, ten years after his previous photobook publication and three years after he basically stopped photographing altogether. “Light and Shadow” also marks an evolution in Moriyama’s photography, with the moodiness of earlier works replaced by a clearer focus on objects and the early bure-boke having evolved into a richer, high-contrast style.

The English version features a hardcover reprint of Moriyama’s 1982 photobook as well as a booklet with detailed information to each photograph, exclusive commentary by Daido Moriyama, and an interview originally published in the September 1981 issue of the magazine “Shashin Jidai” (all in English translation).


Signed by Daido Moriyama.   English Edition of 1000 copies.