Daido Moriyama

• Akio Nagasawa 2025
• Hardback, 1st edition, 96p
• New

Despite the fact that I usually have all kinds of things and ideas on my mind, the lifestyle that I’m leading is quite simple. I find myself swinging back and forth between worrying if I’m alright, and reassuring myself that I’m doing just fine. Today I wonder whether there’ll be that one great shot among the photos that I take, and tomorrow... well that’s another day. So I wander about with my little camera in my hand, and when I’m at home at night, I sit down in my chair and grumble. “Hmm… Well… Yeah…”

– excerpt from the afterword by Daido Moriyama

Signed copy.

Back in stock.

• Akio Nagasawa 2018
  
• Softcover, 1st edition, 120p
  
• New

"As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.
My memories of wandering from one town to another for a while after the war have piled up at the bottom of my conscious mind, and it appears to me that they are reflected in the myriad images I’ve been capturing as a street snap photographer, responding to my index finger as it releases the shutter. In other words, regardless of whether I was aware of it at the place and time of shooting, it seems that the majority of my photographs represent an instant communion with the here and now that is established through some kind of time tunnel."  - Daido Moriyama

Signed copy.

• Thames & Hudson 2025
• Hardback, 1st edition, 440p
• New

Quartet explores Daido Moriyama’s early career through four foundational photobooks that highlight his place as one of Japan’s most radical photographers: Japan: A Photo Theater,  A Hunter, Farewell Photography and Light and Shadow.

Rooted in the complexities of Japan during a transformative era from 1968 to the early 1980s, these seminal photobooks not only offer profound insights into the nation’s evolving cultural, economic and social landscape, but also trace the emergence and development of Moriyama’s distinct style.

Slipcased hardback.

• Akio Nagasawa 2018
  
• Softcover, 1st edition, 120p
  
• New

As you have probably recognized, the photo across the last two pages of this issue shows a young Nobuyoshi and Yoko Araki. When I met Mr. Araki for the first time in years in connection with my recent business for a certain magazine, the photo was pasted into a handmade scrapbook he had brought with him, in accordance with the theme of that particular project. He jokingly showed it around among the staff, and I seized the opportunity to make a copy of it. It is such a magnificent picture of the two of them together that I just had to do it. The photo must have been taken around the time of Araki’s early photo book, Sentimental Journey, and I was totally captured by the impact and the message that the genuine print of that snapshot of two youthful naked fellows conveyed. - Daido Moriyama

Signed copy.

• Getsuyosha 2017
  
• Softcover, 1st edition, 176p
  
• New
  

“The dog in me tells me to seek out bustling streets, the cat tells me to enter every back-alley I come across, and the bug in me drags me towards the red-light quarters. Copying the world from the view of a lowlife, particularly loitering through Tokyo every day, I feel that this is all the meaning there is to my life and my taking photographs.” (from Daido Moriyama’s afterword)

“K” (from the Japanese “kei” for “view, vista”) collects Daido Moriyama’s latest photographs (2017), fragments of the city, its corners and crannies of the city, the figures that populate it.

• Akio Nagasawa 2017
  
• Softcover, 1st edition, 114p
  
• New

 In early November, I had some business to do in the town of Zushi.
I have a house there and usually visit Zushi two or three times a year. The more I drive along the coast and down the roads in town each time, the more images of a young Takuma Nakahira inevitably flash across the back of my mind.
And that’s just natural, considering that some fifty years ago in the summer we were close friends who eagerly discussed their photographic dreams while walking together morning, noon and evening.- Daido Moriyama

Signed copy.

• Akio Nagasawa 2017
  
• Softcover, 1st edition, 124p
  
• New

This past June, a photo book titled “Pretty Woman” was published by Akio Nagasawa Publishing. Containing color and black-and-white photographs on 400+ pages, this hardcover book with a colorful poppy design is in a way an encyclopedia of Tokyo vulgarities from my own personal point of view. Then, in July, I received a copy of the compilation “RECORD” from the London-based publisher Thames & Hudson, who had finally completed their year-long project collecting all previously published volumes of the “RECORD” journal from 1 to 30. After the initial five volumes of “RECORD” that I conceived and put together back in 1972, the journal was put on ice for quite a long time, until Akio Nagasawa’s request in 2006 encouraged me to continue with number 6, up to number 35, for which I am now writing these notes. If Thames & Hudson included all pages of “RECORD” in their book, it would have become an enormously massive tome, so they did select to some extent, but the result is still an impressively voluminous book.

Looking repeatedly at both of these two new photo books at the same time, I got a bizarre kind of feeling, as if looking at my own photographs and at once watching a totally strange world, full of sceneries that I had never seen before. It seemed as if the time that had passed between the photos taken in 1972 and those shot in 2017 had been erased, so that all the printed images in these two books suddenly appeared on the same level without that temporal depth. Rather than being a natural effect, considering that they were all made by the same photographer, it appears to me that this was a phenomenon that has to be attributed to something other than the primary recording capacity of photography as a duplication mechanism. Browsing through these two books, I was once again reminded of the sheer breadth and depth of the tool that is photography.

- Daido Moriyama

Signed copy.

• Bookshop M 2025
• Hardback, 1st edition, 168p
• New

Daido Moriyama: Stray Dog — The Rediscovered Slides

A rare visual record, rediscovered after 25 years.

In 1999, Daido Moriyama: Stray Dog was held at the San Francisco Museum of Modern Art, a groundbreaking exhibition that later toured the U.S. and Europe. It marked a pivotal moment in Moriyama’s career, launching him onto the international stage. As part of the show, 140 of Moriyama’s own hand-selected works were transferred onto slide film and presented as a slideshow.

Now, a quarter century later, the original film has been unearthed—prompting the creation of this long-awaited publication.

The book faithfully reproduces all 140 images from the original slideshow. Its cover features Moriyama’s iconic Stray Dog, Misawa in two versions: a standard print (LEFT) and its reverse (RIGHT), reflecting the duality that emerged as the photo spread through the world after it was taken in 1971.

Also included are essays by four internationally renowned curators who share their personal encounters with Moriyama’s work. Each story is followed by a rare commentary from Moriyama himself, reflecting on the past through their words. (All texts in English.)

Includes a separate booklet with full Japanese translations of all texts.

Right hand image on cover.  

Unsigned (signed copies no longer available).

Final few copies.

Please advise if you have preference for left or right printed image on the front cover.

• Akio Nagasawa 2017
  
• Softcover, 1st edition, 112p
  
• New

I am crisscrossing the central Tokyo area taking snapshots in the streets more or less on a daily basis. Within this routine, every once in a while it happens that I am suddenly overcome by a sense of bewilderment, just like a student in his first year at a photography school. What exactly am I trying to see through the finder of my camera? What is that photo that I just shot? It’s questions as utterly naïve and elementary as these that occupy my mind in such situations.

– Daido Moriyama, afterword 

Signed copy.

• Akio Nagasawa 2016
  
• Softcover, 1st edition, 88p
  
• New

October 29 was for me a Saturday just like any other Saturday. As usual, I put my camera into the pocket of my jacket in the morning, and walked down to the coffee shop near the park at Ikebukuro station’s West Exit to have my coffee, while shooting the occasional picture as I leisurely passed through familiar sceneries.
...
While sitting there and absent-mindedly sipping my coffee, a certain thought literally flashed across my mind. It was a thought that had never occurred to me before. The idea was to fill one issue of Record exclusively with the photos taken on this particular day. For a very long time I’d been bragging about how I’d only need a single day to shoot enough material to fill an entire photo book, but in reality it never was that easy. But as this was the plan that I hatched over my coffee, it dawned on me that I had no other choice this time.

– Daido Moriyama, afterword 

Signed copy.

• Akio Nagasawa 2012
  
• Softcover, 1st edition, 80p
  
• New

Last April I went to Los Angeles.
L.A. means for me, more than anything else, the staggering view from Beverly Hills down on the city; the downtown area around the "Mexican street" with its various tasty smells; Little Tokyo, a neighborhood that could have been used as a movie set; and finally, the Santa Monica Pier amusement park further down on the coast.
The original purpose of my visit to L.A. was the opening of a solo exhibition and talk show at the LACMA's Pavilion for Japanese Art, as well as the opening of another solo show at a gallery on Beverly Boulevard.
Each and every day was a hot and sunny one, and the light and wind, the people and places, and just about everything else I saw just seemed to be screaming "Los Angeles" at me. So loud it almost made me laugh.

– Daido Moriyama, afterword 

Signed copy.

• Akio Nagasawa 2011
  
• Softcover, 1st edition, 52p
  
• New

Now that summer had come to the three dull buddies, real men as they were, they braced themselves up and decided to go on a summer trip.
"I wanna see alligators," one of the men said.
"I'd like to go to a queer kind of place," said the second.
"I think I would prefer to see something nasty," the third one said.
Well in that case, the eastern side of the lzu peninsula, up north near the mainland, is definitely the place to go.
Alligators one can see at the Atagawa Tropical & Alligator Garden (Banana Wani-en),
the Ayashii Museum (Ayashii Shonen Shojo Hakubutsukan) in Ito is pretty queer,
and there's no nastier place around than the Atami Adult Museum (Atami Hihoukan).
The three simpletons boarded a bright red Mazda Axela- wherever that came from - and embarked on their overnight trip to eastern lzu.
It was such a fun time they had on their summer excursion!

– Daido Moriyama, afterword 

Signed copy.

• Akio Nagasawa 2010
  
• Softcover, 1st edition, 48p
  
• New

...The city of New York, and the Manhattan neighborhood in particular, is certainly one huge melting pot of human desires, and as one can easily imagine that it is an extremely practical location, it seems just natural to me that an artist of a nervous and sensitive nature sooner or later feels like plotting an escape.
For myself, however, who is always just a traveler, Manhattan has that throbbing something that attracts and spellbinds
people - although it might of course be different if I wasn't only visiting. New York is filled with a vague scent of mescaline, while the smell of Andy Warhol is billowing out of every street.– Daido Moriyama, afterword 

Signed copy.

• Akio Nagasawa 2008
  
• Softcover, 1st edition, 48p
  
• New

Rare early Record issue.

Signed copy.

• Akio Nagasawa 2009
  
• Softcover, 1st edition, 48p
  
• New

Rare early Record issue.

Signed copy.

• Akio Nagasawa 2010
  
• Softcover, 1st edition, 48p
  
• New

Rare early colour Record issue.

Signed copy.

• Akio Nagasawa 2009
  
• Softcover, 1st edition, 48p
  
• New

Rare early Record issue.

Signed copy.

• Akio Nagasawa 2009
  
• Softcover, 1st edition, 52p
  
• New

Rare early Record issue.

Signed copy.

• Akio Nagasawa 2008
  
• Softcover, 1st edition, 48p
  
• New

Rare early Record issue.

Signed copy.

• Nazraeli Press 2025
• Hardback 1st edition
• New

Published to coincide with an exhibition of the same name, Los Angeles x Shinjuku presents a face-to-face selection of work from Daido Moriyama’s ongoing Shinjuku, Tokyo series and Avo Tavitian’s photographs of Los Angeles made over the past three decades.

Born in Beirut, Lebanon, in 1954, Avo Tavitian’s journey to photography is marked by a profound connection to his changing surroundings. Shaped by the experience of moving to the Eastern shore of the United States with his family in the late 1960s, following the 1967 Middle East war, Tavitian developed a sense of being an outsider during his formative teen years in New Jersey and New York City, a sensibility that would later influence his work as a photographer after his relocation to Los Angeles in the mid-1980s.

Born in 1938 in Osaka, Japan, Daido Moriyama is a pivotal figure in contemporary photography, celebrated for his evocative black-and-white street photography that captures the essence of urban life. In recording the subcultures of Tokyo during his career he gravitated to the dense, dynamic and often gritty ward of Shinjuku. He employs a raw, spontaneous style characterized by high contrast and grainy textures. His iconic images explore themes of identity, memory, and the fleeting moments of everyday existence.

Tavitian and Moriyama both focus on framing everyday subjects, capturing moments on 35mm film while embracing the unpredictability of the medium. Their work reflects a deep fascination with urban landscapes and a curiosity about the mundane, as they seeks to document the changes and constants in his field of vision. Through their explorations, both photographers use the camera to navigate the complexities of belonging and identity in an ever-shifting human environment.

• 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.

• 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.

• 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.

• 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.

• 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.

• 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, 1st edition
• New

– from the afterword by Daido Moriyama

Signed copy.

• 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.

• Getsuyosha 2021
• Softcover, 1st edition. 168p
• New

• 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.  

• Akio Nagasawa 2010
• Softcover, 1st edition, 48p
• New

...Through the optical axis of a lens as transparent as a cat's eye in the extremely handy camera I'm carrying, I capture with just the slightest stroke of my fingertip how I call in the world, or the world calls me in, and in this respect, I continue to make my rounds in the maze of city streets and humans. Being a street snap photographer who witnesses scenes, walks and seeks intuitively, also makes me feel a possible connection to the hardboiled novel. That's because I frequently get lost and all fired up out there in the streets.

"If you want anything, just whistle." – Humphrey Bogart

– from the afterword by Daido Moriyama

Rare colour addition to the Record series.

Signed copy.

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

"Even though it hadn’t been all that long since I last went on a prowl in Shinjuku, when I grabbed my camera and took to the streets of Kabukicho on that day, for some reason the scenery evoked in me a certain sense of nostalgia. Nothing was supposed to change in the neighborhood in less than half a year, but I just couldn’t deny that rather strange feeling. Anyway, I did go out there again with the desire to shoot photographs.

It all started sixty years ago, when I arrived in Tokyo with my Canon 4Sb camera, and took my first picture on the square in front of Shinjuku Station’s east exit. Since that day, I have been taking an endless chain of photograph of that place called “Shinjuku,” which became for myself an irreplaceable “hometown of photography,” and an inescapable ”metropolis of photography.” It is a very real and actual, wild and erotic, and at once also a quite charming kind of labyrinth. As described above, the pictures in this volume of Record were all shot in the Kabukicho/Shinjuku area.
When I was a young dude living in Osaka, above all else, “Tokyo” was for me all about Ginza, Yurakucho and Akasaka. That’s because those were the places that appeared in popular songs of the day, and the images those songs had engraved on my mind were not images of Shinjuku or Shibuya. However, shortly after I eventually moved to Tokyo, I got totally immersed in all things Kabukicho/Shinjuku without turning a hair. It was my own nature and temperament that made me a hopeless captive who involuntarily surrendered to the fascination of Shinjuku. That was the time when the songs I warbled away were naturally replaced, one by one, with the likes of “Shinjuku no onna” and “Shinjuku blues”...

After all, that place called Shinjuku is essentially my second hometown, and in my book, it is in fact the hometown of photography itself."

– Afterword by Daido Moriyama

Signed copy. 

• 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.

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

Last November, while the “Paris Photo” fair was on, I went to Paris for the first time in two years. The main reason for my trip was some business I had to do in connection with Paris Photo.

So I thought I’d take some snaps while I’m in the city, which I could use to fill a few pages of the next issue of Record. I eventually spent one of the five days I stayed in Paris devoting myself to shooting. While taking pictures in the Saint-Michel neighborhood, Rue Mouffetard, and the area around Moulin Rouge, my memory gradually transported me back 30 years, to the time when I lived in Paris for a brief moment.
At the time I had rented an apartment at the foot of the Rue Mouffetard, and day after day I would grab my camera and take to the streets to just wander around with no particular purpose.
It was 30 years ago that I suddenly went mad and got obsessed with that idea to rent a room in Paris, where I would set up something like a private gallery. I bothered Ms. Kazue Kuramochi, an acquaintance of mine who was based in Paris, and asked her to help me find a place. I did find one, but for a variety of reasons my dream of a gallery didn’t become reality, and I ended up spending my days roaming the streets instead. I didn’t speak any French to begin with, only some broken English, and I obviously didn’t have any friends in the city. So there I was, a guy who had just turned 50, totally bewildered, and with nothing else to do than keep pressing the shutter button of my camera.

However in retrospect, even though there are a few things that I do regret, in the long run I think it was just fine that way. After all, I have two photo books of Paris, and one of Marrakesh now. Paris at the time was right in the middle of celebrating the 200th anniversary of the revolution, and the entire city was bustling.

Armed with such thoughts and memories, I left the noisy Paris Photo venue behind me, and went out to capture the Parisian streetscape.

– Afterword by Daido Moriyama


Signed copy. 

• Akio Nagasawa 2017
  
• Softcover, 1st edition
  
• New
  

In early November, I had some business to do in the town of Zushi. I have a house there and usually visit Zushi two or three times a year. The more I drive along the coast and down the roads in town each time, the more images of a young Takuma Nakahira inevitably flash across the back of my mind. And that’s just natural, considering that some fifty years ago in the summer we were close friends who eagerly discussed their photographic dreams while walking together morning, noon and evening.

-Daido Moriyama, afterword


Signed copy.

.

• Akio Nagasawa 2010
• Softcover, 1st edition
• New

...I am by nature someone who has little use for such things as origins and fixed points, and as I actually think that adopting such conceptions would mean that I've arrived at a point where I should call it a day, in this respect "street photographer" surely is an occupation that suits me well. Nevertheless, capturing on film the extensive net of streets that stretched across the globe like a labyrinth sometimes seems to me just as pointless as sticking a rod in the ocean, happens that I experience a disappointing sense of futility. However, it is my extremely optimistic nature that encourages me to "keep shooting nonetheless", and this mindset at least is standing firm. After all, I'm only happy when I'm out there with the camera in my hand, so this may in fact be the one point where my true identity manifests itself. In other words, everything's fine as long as I shoot practically and leave the rest to the photographs and those who look at them.
This issue of "Record" features pictures for my Hokkaido exhibition that opens this summer at Otaru and other places, taken during two days of wandering around the area's streets.

– from the afterword by Daido Moriyama

Rare colour addition to the Record series.

Signed copy.

• Akio Nagasawa 2011
• Softcover, 1st edition, 72p
  
• Fine
  

Last year in September, approximately 400 prints of my photographs were on display in an exhibition in Modena, Italy. The venue was a former hospital designed in a classical style, the interior of which was entirely refurbished into a museum. The exhibition that took place in a variety of different settings inside the building was based on a plan that I had worked out according to my own ideas, presenting a hand-picked selection of photographs taken between 1964 and 2009. After the show, just for a brief moment, I couldn't help but feel something funny about it all.

My three-day schedule in Modena only allowed me to take some snaps along the way while commuting between the museum and my hotel in the old part of the city. However during a trip down to Florence two days after the exhibition
opening, I managed to spend about half a day walking around town with my camera in hand.

While my work usually revolves around the "radical artification of the city" as a general motto, in Florence, a city of art since ancient times, I couldn't find anything that wasn't already turned into art - to an extent that made me laugh out loud time and again. Once aware of the boorishness of my attempt to turn such a place into art with my camera, I found myself left with no other choice but to return to my daily snapshot routine. As it turned out, the chicks in the streets were remarkably sexy.  - Daido Moriyama

Signed copy