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"Within the past twenty-five years the character of Japanese photography has changed radically, and its former dependence on the patterns and attitudes of the traditional Japanese media has been replaced by a sometimes harshly realistic objectivity. At the root of this change was a desire to find ways in which photography could deal directly with contemporary experience, rather than with the basically tormalistic issues of picture structure. The work produced under this impetus has influenced photographic thinking throughout the world. This book surveys the major innovative figures in recent Japanese photography and reports on the most significant work being done by younger photographers in Japan today. Alive with visual excitement, the volume presents the distinctive work of fifteen photographers."--Page 4 de la couverture.
Pleasure and asceticism, openness to and aloofness from the world, the personal and the impersonal ... these and other related oppositions are the poles of Japanese philosophy and life, of a dialectic tension intensified through the encounter with western culture. The title Desire and Void underscores this polarity. "Desire" alludes to taboos surrounding sex and the body, issues of increasing importance in present-day Japan. The "void" represents the Buddhist concept of emptiness as timelessness but stands as well for a state of alienation that leaves an indelible mark on Japanese life today. Represented under the programmatical title Japanese Photography, Desire and Void are twelve contemporary photographic artists selected by curator Peter Weiermair for their extraordinary accomplishments in the medium in recent years - for works unique in both their formal and thematic power and characterized by an impressive command of advanced technologies. The photographers presented here exemplify the most innovative positions not only in current Japanese art but in the international art scene as well.
The must-have classic work on early Japanese photography! "Writer Bennett crafted this beautiful and educational book from a collection of 350 old and rare images captured by Western photographers. This book offers a glimpse of life in Japan during one of its most dramatic periods in history." --Shutterbug Magazine "The extensive collection of valuable photographs in this book and its text might be described as a visual record of our native land during that period, a record that has been lost to us since so many early photographs left Japan." --Message announcing Photography in Japan: 1853-1912 as the Winner of the 2007 International Award of the Photographic Society of Japan This book presents a fascinating visual record of Japan and Japanese culture during its metamorphosis from a feudal society to a modern industrial nation--at a time when the art of photography was still in its infancy. The 350 rare images in this book, most of them published here for the first time, chronicle the introduction of photography in Japan and the history of early Japanese photography. These images are vital in helping us to understand the dramatic changes occurring in Japanese society during this critical period. Taken between 1853 and 1912 by talented Japanese and foreign photographers, these photographs document the history of photography in Japan in a comprehensive and systematic way, with extensive information about the photographers as well as the people and subjects illustrated. The images, whether sensational or everyday, intimate or panoramic, document a nation on the brink of abandoning its traditional ways and entering the modern age.
Unique portraits of Japanese photography fanatics and their gear from the trendsetting Tokyo Camera Style blog Founded in 2008, John Sypal’s blog, Tokyo Camera Style, has a devoted and passionate international following and has inspired a network of similar blogs worldwide. In street portraits taken on the fly, we see Tokyo’s film-camera enthusiasts posing with their favorite photographic equipment. The images not only catalog the amazing range of cameras used by the most obsessive photography geeks but also offer a glimpse into a street culture where the photograph means everything and the camera takes center stage. Now, 300 of Sypal’s colorful photographs of weird and wonderful cameras and their creative owners have been gathered together in a one-of-a-kind book. Often taken from above, with the camera owners’ faces out of view, the images show telling details that might otherwise have been missed: the clothes, the jewelry, hands and feet, shoes and socks, customized camera straps, and other photography-related paraphernalia. Beyond the wonderful selection of rare, customized, and vintage analog camera makes, models, and lenses are portraits of the individual personalities who make up the avid street photography scene in Japan.
Beta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique talent and voice in the world of avant-garde contemporary photography. The opening essay "Life Is a Gift" meditates on the transformation of human life into an exchangeable commodity and the abstraction that entails. "Essay 01" develops Kanemura's idea of photographic "technique" in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: "We can say that modern technology constitutes photographic technique." Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey. Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay "Dead-Stick Landing" develops Kanemura's theory of the moving image as mechanical system, solely governed by an "on-off switch," while "Essay 02" develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful "loyalty" expressed to machines, and not to stories. The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of Kanemura's equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao's dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo. Osamu Kanemura was born in 1964 in Tokyo, Japan. In the 1980s, after performing as a punk-rock musician, he entered the film school "Image Forum" in Tokyo where he made several 16 mm experimental films. In 1990 he entered the Tokyo College of Photography, and before graduating in 1993, he was invited to the Photography Biennale in Rotterdam, Netherlands. Since then, he has held numerous solo exhibitions and has participated in various group shows in Japan and abroad. His photographs are found in public collections, including the Museum of Modern Art (MoMA), the Art Institute of Chicago, the National Museum of Modern Art, Tokyo, and the Yokohama Museum of Art. Besides his well-recognized black-and-white photographs of cityscapes, Kanemura also continues to work on videos and moving images.
In Photography and Japan, Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country’s dramatic cultural, political, and social history. Photography and Japan covers 150 years of photography, a period in which Japan has experienced some of the most significant events in modern history and made a remarkable transformation from an isolated, feudal country into an industrialized, modern world power—a transformation that included a striking rise and fall as an imperial power during the first half of the twentieth century and a miraculous economic recovery in the decades following the devastation of World War II. The history of photography has paralleled these events, becoming inextricably linked with notions of modernity and cultural change. Through thematic chapters that focus on photography’s role in negotiating cultural identity, war, and the documentation of urban life, Photography and Japan introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known.