Haruo Tomiyama - Our Day - 1971





Protection des acheteurs Catawiki
Votre paiement est en sécurité chez nous jusqu’à la réception de votre objet.Voir les informations
Trustpilot 4.4 | 144785 d’avis
Noté Excellent sur Trustpilot.
Our Day est un livre de photographies japonais de Haruo Tomiyama, publié en 1971 par Chuokoron-sha.
Description fournie par le vendeur
Our Day
Haruo Tomiyama
Chuokoron-sha/1971/Japanese/265*217*15
A collection of photographs by Japanese photographer Haruo Tomiyama, entitled “Gendai Sokan” (Contemporary Views). Haruo Tomiyama worked as a commissioned photographer for the Asahi Shimbun newspaper after World War II, et became famous for his works depicting the turbulent times of high economic growth from the 1960s onward. This book is the sixth issue of the “Image no Gendai” series, a collection of works by one of Japan's leading photographers of the time. Here is an interesting text by Shoji Yamagishi of Camera Mainichi at the end of the book. During his stay in Paris, he had the opportunity to show the works of Japanese photographers to Henri Cartier-Bresson. He said of the photographs of his contemporaries Daido Moriyama and Masahisa Fukase, “They look like plastic. They are nonsense.” Bresson, who had bluntly refused to accept my objections, replied, ”It is not that society or the times are sick, but only that the photographers are sick. He was convinced that society and the times are not sick, only the photographers are sick. I couldn't stand it any longer,” he said, ”I immediately grabbed my camera and ran out of the house. He was amazed that there was a young man in Japan who could take such wonderful pictures,” Yamagishi said. According to Yamagishi, “Toyama's clear and dynamic images have the power to draw our eyes to a cross-section of reality that we might otherwise miss.
Our Day
Haruo Tomiyama
Chuokoron-sha/1971/Japanese/265*217*15
A collection of photographs by Japanese photographer Haruo Tomiyama, entitled “Gendai Sokan” (Contemporary Views). Haruo Tomiyama worked as a commissioned photographer for the Asahi Shimbun newspaper after World War II, et became famous for his works depicting the turbulent times of high economic growth from the 1960s onward. This book is the sixth issue of the “Image no Gendai” series, a collection of works by one of Japan's leading photographers of the time. Here is an interesting text by Shoji Yamagishi of Camera Mainichi at the end of the book. During his stay in Paris, he had the opportunity to show the works of Japanese photographers to Henri Cartier-Bresson. He said of the photographs of his contemporaries Daido Moriyama and Masahisa Fukase, “They look like plastic. They are nonsense.” Bresson, who had bluntly refused to accept my objections, replied, ”It is not that society or the times are sick, but only that the photographers are sick. He was convinced that society and the times are not sick, only the photographers are sick. I couldn't stand it any longer,” he said, ”I immediately grabbed my camera and ran out of the house. He was amazed that there was a young man in Japan who could take such wonderful pictures,” Yamagishi said. According to Yamagishi, “Toyama's clear and dynamic images have the power to draw our eyes to a cross-section of reality that we might otherwise miss.

