
Shinjuku
Nikon F3 with Leica 50mm f2 Summicron-R lens
Photographer: Enrique Balducci portfolio site / tumblr / instagram / www.grain.enriquebalducci.com
Shinjuku
Nikon F3 with Leica 50mm f2 Summicron-R lens
Photographer: Enrique Balducci portfolio site / tumblr / instagram / www.grain.enriquebalducci.com
Totem Pole Photo Gallery, Shinjuku
Nikon FE with 28mm f3.5 lens
Photographer: Megumi Okubo / prev. on TCS
Shinjuku
Contax T3D & Mamiya 7II with 80mm f4 lens
Photographer: Isao Hishinuma website / prev. on TCS
Shinjuku
Leica M4 with 35mm f1.4 Summilux lens
Shinjuku
Pentax LX with 35mm f2.8 lens
Olympus OM-4 Ti with 40mm f2 lens
Plaubel Makina 67
Photographer: Jonathan Hillhouse / website
So glad to finally get to meet a longtime internet pal- Jonathan Hillhouse visited Tokyo from Kagoshima this week and we took in some photo exhibitions and walked around the city a bit.
I’ve been a huge fan of his work (all film) since the first time I saw it- he’s got a natural talent with both the camera and editing/sequencing his pictures. His photographs are personal, quiet, and obviously beautiful- but instead of absolute technical perfection he is open to “mistakes” in analog photography, leveraging these natural alterations- be they from blur, scratches or chemistry surprises to sync softly in with the rest of his images.
Mixing a variety of formats- from 35mm, medium & large format to Impossible Project & Fuji Instax snaps- the way he does is impressive but even more, it feels natural.
“Nearly all of the enormous number of new works that Araki took for this exhibition were printed on photographic paper. This is in keeping with the artist’s strong wishes as someone who has asserted that “photographic paper is magic paper.” The fact that he has chosen this method, which requires a kind of artisanal printing technique, gives us some insight into the artist’s discerning view of the underlying power of the photographic medium and his critical attitude toward the way our senses have been dulled and eroded in today’s digital environment.”
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Excerpt from the curator’s opening greeting for 荒木経惟 写狂老人A ARAKI Nobuyoshi Photo-Crazy A.
(Tokyo Opera City Art Gallery July 8th - September 3rd, 2017)
“…and his critical attitude toward the way our senses have been dulled and eroded in today’s digital environment.”
This.
Osawa Camera, Ebisu
Pentax 645 with SMC Pentax-A 75mm f2.8 lens
Ebisu Station
Pentax Espio 120SW Midnight Blue edition. Only 70 of these were made.
Photographer: togetogeitai
Ebisu Station
Contax RX with 50mm f1.4 Planar lens
Seen: 写真夏の昼の夢精 A Midsummer Day’s Wet Dream
Who: Nobuyoshi Araki
Where: Art Space AM, Harajuku (map)
When: August 15 - October 15, 2017 (Open 1-7pm. Closed Mon. & Tue.)
As usual, AM’s uniquely cavernous atmosphere is a fitting venue for Araki’s work. In this show, Araki’s latest 2017 exhibition in Tokyo, each print or instant photo displayed has been splattered with a blast of milky white paint by the artist- an act of mark-making that highlights a particular sense of humor- one amplified by show’s title as well.
Shimokitazawa
Canon New F-1 with 50mm f1.4 lens
Suwa Shrine, Nishi-Nippori
Leica M4 with 50mm f2.8 Elmar-M lens
Suwa Shrine, Nishi-Nippori
Leica M7 with Voigtlander 35mm f1.4 Nokton Classic lens
Suwa Shrine, Nishi-Nippori
Nikomat with 50mm f1.4 lens
Suwa Shrine, Nishi-Nippori
Canon New F-1 with FD 50mm f1.4 lens
「写真は終わった。デジタルカメラで撮れるものは写真とは違う。また別の名前を作らなくちゃいけないんだ」
“Photography is finished. What’s taken with a digital camera is something different than a photograph- it’s something that needs to have a new name.”
-Nobuyoshi Araki
Source: Dejikame Watch: 荒木経惟×ギメ東洋美術館「東京墓情」レポート Photo credit: Yasunobu Ichii