Daido Moriyama

• Kamel Mennour 2012
• Softcover, 2nd edition, 288p
• New

This second edition of Daido Moriyama-Remix is published on the occasion of the William Klain/Daido Moriyama exhibition at the Tate Modern end of 2012. The book was first published in 2004 by Kamel Mennour Gallery Paris, and features a wide selection of black and white and colour images taken over the entire span of Moriyama's career.

Excellent out of print title featuring some of the best Moriyama work shown in a dazzling full bleed extended montage.  

Sealed.

Note: Contains some graphic content.

• Akio Nagasawa 2026
• Softcover, 1st edition, 104p
• New

“I’m so happy to have my camera!” or “I’m really grateful that photography exists!” – these are things that I sometimes say to myself, and while the idea is not new, I recently feel this more than I did before. Now you may suggest that it’s an age thing, and you do have a point there, but it’s a bit different. In fact, I have these things in mind every time I grab my camera and go out. When I walk around with my camera day by day, there is a delicate sense of pleasure that walks along with me as I copy and connect sceneries of streets and alleys through the photographs that I take. After all, it’s a photographer’s life that I’m living.

– Excerpt from the afterword by Daido Moriyama

Signed copy.

• Akio Nagasawa 2025
• Softcover, 1st edition, 40p
• New

The latest volume in the silkscreen-printed cover, hand-bound series.

As a sequel to How to Create a Beautiful Picture, No. 6: Tights in Shimotakaido (1987), this book brings together photographs taken in Ikebukuro in 2011.

Published by Akio Nagasawa Publishing, Tights in IKEBUKURO is the second photobook in Daido Moriyama’s iconic “Tights” motif, following the sold-out TIGHTS IN SHIMOTAKAIDO (2018).

Limited edition of 600 signed and numbered copies.

• 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 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.

• 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

"Inudorino me toujitsuni sadamarazu"
(On a winter day, the hunter struggles to take aim.)

This haiku by the late photographer Seiryu Inoue is a phrase that I particularly like. That’s because I think the visual scene it evokes is reminiscent of Inoue himself, and the countless street photographs that he made all seem to be condensed in this one line. Inoue was a documentarist who vividly portrayed with his hand-held camera the everyday life of people in the “skid rows” of Kamagasaki (Nishinari-ku) in Osaka in the 1950s, and the image of his captivatingly intrepid style is still very much alive in my mind.

It was more than sixty years ago that Inoue taught me, a newbie who had just plunged into the world of photography in Osaka, on the spot what street photography was all about. It didn’t happen in the form of verbal lectures though. Simply following and watching him as he swiftly captured the sceneries of Kamagasaki, produced a stencil of sorts, that left such a deep impression that the street inevitably became my own hunting ground.

After moving to Tokyo, I worked as Eikoh Hosoe’s assistant for three years, before eventually embarking on my own career as a photographer at the age of 24. Throughout the six decades that followed, I remained in the field of “street photography” – in fact the only one I have ever worked in. The extremely real and charming experience of bygone days, following on the heels of Seiryu Inoue, was what initially got me there when I was a young lad.

"Ikuninka ashiotokieshi shimokuren"
(Magnolias, still there after the streets have gone silent.) by Seiryu

Volume 49 of Record contains photographs taken in the streets of Shibuya.
I have taken quite a lot of snapshots in Shibuya up to now, because for some reason I’ve been arrested by that desire to grab my camera and mix with the Shibuya crowd, be part of the hustle and bustle. I would just wander through the streets, driven by the urge to point my camera at the motley bunch of people who pass by. So I kept walking around Shibuya for three days straight until I was satisfied, at least for the time being. This is how you do it, right, Inoue-san?

– from the afterword by Daido Moriyama

Signed copy.

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

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.

– Afterword by Daido Moriyama

Signed copy.

• 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 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
  
• 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