"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.
A few days ago in the evening, I suddenly felt the urge to take a train to Yokosuka. It was already after 8 PM when I arrived in the ”Wakamatsu Market” entertainment district behind Yokosuka Chuo Station on the Keihin Line, but due to the ongoing pandemic, the lights of the normally crowded shops were all switched off. The streets at night had turned into a bleak, dimly lit place, with the usual drunken crowd nowhere in sight. I eventually held my camera into the darkness and shot a dozen or so pictures, while walking quite naturally down the main street toward the “Dobuita-dori” district. However, most of the shops here were closed as well, and only a few people passed by. It was a truly sad and lonely sight.“Little wonder,” I muttered to myself, considering that more than half a century had passed since the time I wandered with the camera in my hand around Yokosuka, right in the middle of the Vietnam War.
It was here in Yokosuka that I decided to devote myself to the street snap style, so the way I captured the Yokosuka cityscape defined the future direction of my photographic work altogether. I was 25 at the time, and was still in my first year as an independent photographer. I remember how determined and ambitious I was when I started shooting, eager to carry my pictures into the Camera Mainichi office and get them published in the magazine. It was a time when I spent my days just clicking away while walking around with the camera in my hand, from Yokosuka out into the suburbs, from the main streets into the back alleys.I had been familiar with the fact that Yokosuka was a US military base since I was a kid, and it also somehow seemed to suit my own constitution, so I think my dedication helped me overcome the fearfulness that came on the flip side of the fun that was taking photos in Yokosuka.
These are the results of a mere two days of shooting, but somewhere between the changing faces of Yokosuka, and my own response from the position of a somewhat cold and distant observer in the present, I think they are reflecting the passage of time, and the transformations of the times.
'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.
The book before you contains five of the seventeen essays that make up Life on the Wrong Side of Town: Sports Edition, which orginally appeared as a series in the magazine Mondai Shosetsu ("Problem Novels", published by Tokuma Shoten) in 1975 and was then published as a single volume by Shinyosha in 1982, the year before Terayama passed away. By adding Moriyama-san's photographs to the text we have constructed a new edition.
While putting this project together, I went back to Terayama's words as expressed in many literary forms - haiku, tanka, poetry, ruminations, essays, novels, scripts, theatrical productions and dramas. The enormous volume and quality of his output was overwhelming, but I eventually settled on this work, Life on the Wrong Side of Town: Sports Edition. The reason lay in this passage form the Afterword.
"This book is a kind of rear window view of the life of what we call sportsmen. From the rear window you can see the river. Sometimes you can see people saying goodbye. But however miserable the view is, you have to keep the rear window open."
-Excerpt from Satoshi Machiguchi's afterword The Spell Moves On, published in Daido Moriyama: Terayama (2015)
"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."
"It has been thirty-six years since Moriyama first began with his personal photographic magazine and now the first five issues originally published between 1972 and 1973 have been re-issued through this reprint. Authentically reproduced, with the photographers hallmark, grainy images, the five thin, yet captivating volumes come handsomely packaged in this edition. A valuable slice of early Moriyama that provides a unique insight into an important phase of his development."
Consists of facsimile editions of:
・Record No.1：Issued in July, 1972 ・Record No.2：Issued in August, 1972 ・Record No.3：Issued in October, 1972 ・Record No.4：Issued in January, 1973 ・Record No.5：Issued in June, 1973 ・Booklet
'Around the middle of the year, I got slightly ill, and eventually spent some time in hospital, after which I got to stay at my home in Zushi. Except for some business and a rehabilitation program that I did in Tokyo, I spent most of the days that followed walking in the streets and taking the occasional snapshot in the Shonan area. But there’s one particular thing about Zushi / Shonan. It is for me a location that necessarily reminds me of Takuma Nakahira. Now that I was staying in Zushi for the first time in years, quite naturally there were various opportunities for me to reminisce about my days with Nakahira, which is already more than 50 years ago. In the evenings, I had plenty of time to read Mitsuzukeru hate ni hi ga…, a collection of Nakahira’s reviews that the publishing company had sent me a copy of quite a while ago, but that I had only briefly glanced through at the time. All kinds of thoughts crossed my mind as I went through the pages, ranging from “You’re absolutely right there, Takuma!” to “What?! Are you serious, Nakahira?” I finished the 500+ pages in a matter of days. The nights I spent reading in Zushi and the greater Shonan area were a time in which I had some nice yet lonely conversations with Takuma Nakahira, whom I unfortunately won’t have a chance to meet again in person.
This issue of Record compiles mainly snapshots that were taken between mid-April and mid-June, when I had to be hospitalized. Right now, I think it’s about time for me to get back to work and my never changing daily routine in Ikebukuro, and elsewhere in Tokyo.'
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).
The publication of Daido Moriyama’s photo book Farewell Photography in 1972 was certainly one of the most important events in the history of modern photography. It would be no exaggeration to say that it had such a great impact that the photography world was quite a different place after the book’s publication than it was before. It was repeatedly reissued between the first issue and today, and the effect it still has is as great – if not greater – now as it was in 1972.
This reproduced 2020 edition of Farewell Photography is based around those 80 images. The series consisted entirely of landscape format shots, and previous publications featured one photograph each across two pages, so that all of the images had folds in the center. In order to avoid ruining the photographs that way, and make it easier to fully appreciate every single one of them, the book design for this edition features a layout of one item per page.
Signed and numbered edition of 600 copies with a silkscreen canvas cover
This is the eighth issue of a series of hand-bound books with silk-screened covers on canvas. This time during a shooting trip, Moriyama found himself captured by the flood of roundish tiles decorating the restroom of his hotel room in Aizuwakamatsu.
1974 was the first year that I went to Okinawa and it was exactly a one week stay. Most of the photos in this book are those I took during that trip.
However, the purpose of the trip to Okinawa then was not to take photos but for Shoumei Toumatsu, Eikou Hosoe, Masahisa Fukase, Nobuyoshi Araki, and myself who all lived in Tokyo then to conduct a photo workshop with "Photo Taking" as the main theme for 10 plus photographers and photo lovers living in Okinawa.
Each time I found some time in between the 5 day Okinawa workshop schedule, I took along the only camera, a half size, I brought with me and shot approximately 2,000 cuts. I didn't set any theme to work along but hopped from place to place like a bird feeds itself, allowing the towns I encountered for the first time to guide me along.
This is the fifth issue of a series of hand-bound books with silk-screened covers on canvas by Daido Moriyama. This book was compiled entirely of photographs of mannequins, one of Daido Moriyama’s favourite subjects.
Daido Moriyama’s legendary photobook with invaluable commentary.
“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 which includes essays by Tadanori Yokoo and Shoji Yamagashi as well as invaluable commentary by Daido Moriyama regarding the book as a whole as well as each individual photograph.
The camera that I used for shooting my first ever photograph was a Bakelite toy camera called “Start.” The guy at the model toy shop in he shopping street near Okamachi station (in Toyonaka) had talked me into buying it, and I had in fact vaguely sensed some kind of mystery in that little black box, so without any particular interest in photographing, I was just taken by the charm of that thing. It was a camera though, so I took it home with me just in case, and with no particular ideas in mind I began to shoot the flowers in our garden, our dog, the big, shiny silver water tanks in the fields next to our house, the white paths on the ground along those tanks, and my siblings sitting on the veranda, after which my interest in taking pictures vaporized, and that was about it. I was a 6th-grader in elementary school at the time. ... Anyway, all the various photographs I’ve talked about above, they are all gone, vanished altogether, disappeared to who knows where. There are neither negatives nor prints left of them, so it’s all only in my memory. I have no words to express what a useless guy I am. However, when I think about it this way, it appears to me that most of the images that I have captured in the countless photographs I’ve shot up to this day may in fact be objects of reminiscence and obituary about vanished sights and sceneries. In other words, my basic inclination, the essence of my work – these things haven’t changed a bit!
“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).
Faint marking to the cardboard slipcase, book is new/unopened.
Signed by Daido Moriyama. English Edition of 1000 copies.
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.
“In the old times, before the capital changed from Kyoto to Tokyo, cherry trees were considered a frightful sight. No one thought them a sign of beauty. […] Without a trace of human life beneath it, a cherry in full bloom becomes a fearful sight.”
The fifth instalment of Match & Company’s “Japanese Photography x Contemporary Literature” series. In “Daido Moriyama: Ango”, Daido Moriyama’s frightening photographs of cherry trees are set to Ango Sakaguchi’s famous short-story “In the Forest, Beneath Cherries in Full Bloom”.
The “demonic beauty of the cherry blossoms” of Moriyama and Sakaguchi turn into a jet-black photobook of bottomless loneliness, emptiness and dangerous seduction.
It was a long, long time ago. Each of them was sleeping in a liquid inside a small flask about the size of a human thumb. All of them had oyster-colored skins, and were shaped like shrimps.
In a glass case at the end of a row of shelves in a dark corridor of an obstetrics and gynecology hospital near the Tanzawa mountains in Kanagawa, countless fetuses in formaldehyde were quietly leaning on each other as they looked out into the sun-drenched courtyard.
In addition to the items published in Gendai-no-me, this first copy book dedicated to this particular series features mostly shots that haven’t been shown before.
Edition of 600 signed and numbered copies with a silkscreen canvas cover.
Daido Moriyama is widely recognized as one of Japan's most important and influential photographers, particularly for his depictions of what he saw as the breakdown of traditional values in post-war Japan. Born in 1938 in Osaka, Moriyama moved to Tokyo in 1961, becoming a fully-fledged freelance photographer in 1964. His work is characterised by powerful, high contrast black-and-white pictures, concentrating on the little-seen parts of the city and highlighting the effects of industrialisation on modern life in Japan. He has showcased his photography in dozens of extremely influential artists books which have had an enormous impact on the world of photography. One of these is "Tales of Tono", first published in 1976, which features work shot in the countryside of northern Honshu, Japan. Taking its name from a collection of Japanese rural folk legends, its non-narrative diptychs display a nascent nostalgia, whilst the formal qualities of the photos embrace the grainy and raw techniques that Moriyama brought to his more urban subject matter. Published here for the first time in English, to coincide with a survey of the artist's work with William Klein at Tate Modern, "Tales of Tono" is the perfect introduction to one of the world's most beautifully unsettling photographers.
On September 7th I attended the memorial service for Takuma Nakahira that was held at 10:30 at a funeral hall in Hiyoshi.
Takuma Nakahira was in all cases an amiable man and friend with a naturally unaffected sense of humor, who every now and then displayed a peculiar kind of lightness. Now that he is gone, I do miss him a lot.
Most of what is depicted here are things that quietly exist on streets, walls and roadsides in the city without attracting much attention; slightly deserted back alley sceneries and people that would certainly go unnoticed if they didn’t catch the eye of myself going about my daily business.
This is the artist's first arrangement with date in order of shooting.
All photos are in vertical position.
There are no photos of dogs or mesh tights in this photo book.
A selection of photobooks by American photographers, alongside a number of titles focusing on the United States. Image: Mark Steinmetz - South East