Sashin yo Sayonara [Bye Bye Photography]
Daido Moriyama
1972
Sashin yo Sayonara [Bye Bye Photography]
Sashin yo Sayonara [Bye Bye Photography]
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Published by Shashin Hyoron, “Bye Bye Photography” stands as a milestone in the evolution of the photobook. Visceral to the point of abstraction, it brings together raw, abrasive, and chaotic images from Daido Moriyama’s photographic ...
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Sashin yo Sayonara [Bye Bye Photography]
Daido Moriyama
1972
Tokyo: Shashin Hyoron-sha
Unpaginated [308 pages]
23 × 18.4 cm

Published by Shashin Hyoron, “Bye Bye Photography” stands as a milestone in the evolution of the photobook. Visceral to the point of abstraction, it brings together raw, abrasive, and chaotic images from Daido Moriyama’s photographic production of the early 1970s, a period in which the artist adopted an almost iconoclastic approach, rejecting conventional notions of composition, focus, and framing. 


 


Martin Parr and Gerry Badger describe the book in “The Photobook: A History, Volume 1” (p. 298) as follows:


 


“Shashin yo Sayonara [Bye Bye Photography] is the most extreme monument of the Provoke period, indeed one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility.... Any notion of 'good' technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains, like Robert Frank or William Klein on speed.”


 


The result is a transgressive and conceptual exercise in style that distorts and transforms reality into an almost oneiric and disorienting dimension.

Tokyo: Shashin Hyoron-sha
Unpaginated [308 pages]
23 × 18.4 cm

Published by Shashin Hyoron, “Bye Bye Photography” stands as a milestone in the evolution of the photobook. Visceral to the point of abstraction, it brings together raw, abrasive, and chaotic images from Daido Moriyama’s photographic production of the early 1970s, a period in which the artist adopted an almost iconoclastic approach, rejecting conventional notions of composition, focus, and framing. 

 

Martin Parr and Gerry Badger describe the book in “The Photobook: A History, Volume 1” (p. 298) as follows:

 

“Shashin yo Sayonara [Bye Bye Photography] is the most extreme monument of the Provoke period, indeed one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility.... Any notion of 'good' technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains, like Robert Frank or William Klein on speed.”

 

The result is a transgressive and conceptual exercise in style that distorts and transforms reality into an almost oneiric and disorienting dimension.

DESCRIPTION

Published by Shashin Hyoron, “Bye Bye Photography” stands as a milestone in the evolution of the photobook. Visceral to the point of abstraction, it brings together raw, abrasive, and chaotic images from Daido Moriyama’s photographic production of the early 1970s, a period in which the artist adopted an almost iconoclastic approach, rejecting conventional notions of composition, focus, and framing. 

 

Martin Parr and Gerry Badger describe the book in “The Photobook: A History, Volume 1” (p. 298) as follows:

 

“Shashin yo Sayonara [Bye Bye Photography] is the most extreme monument of the Provoke period, indeed one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility.... Any notion of 'good' technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains, like Robert Frank or William Klein on speed.”

 

The result is a transgressive and conceptual exercise in style that distorts and transforms reality into an almost oneiric and disorienting dimension.

Tokyo: Shashin Hyoron-sha
Unpaginated [308 pages]
23 × 18.4 cm

Published by Shashin Hyoron, “Bye Bye Photography” stands as a milestone in the evolution of the photobook. Visceral to the point of abstraction, it brings together raw, abrasive, and chaotic images from Daido Moriyama’s photographic production of the early 1970s, a period in which the artist adopted an almost iconoclastic approach, rejecting conventional notions of composition, focus, and framing. 

 

Martin Parr and Gerry Badger describe the book in “The Photobook: A History, Volume 1” (p. 298) as follows:

 

“Shashin yo Sayonara [Bye Bye Photography] is the most extreme monument of the Provoke period, indeed one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility.... Any notion of 'good' technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains, like Robert Frank or William Klein on speed.”

 

The result is a transgressive and conceptual exercise in style that distorts and transforms reality into an almost oneiric and disorienting dimension.

MORE BOOKS

Published by Shashin Hyoron, “Bye Bye Photography” stands as a milestone in the evolution of the photobook. Visceral to the point of abstraction, it brings together raw, abrasive, and chaotic images from Daido Moriyama’s photographic production of the early 1970s, a period in which the artist adopted an almost iconoclastic approach, rejecting conventional notions of composition, focus, and framing. 

 

Martin Parr and Gerry Badger describe the book in “The Photobook: A History, Volume 1” (p. 298) as follows:

 

“Shashin yo Sayonara [Bye Bye Photography] is the most extreme monument of the Provoke period, indeed one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility.... Any notion of 'good' technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains, like Robert Frank or William Klein on speed.”

 

The result is a transgressive and conceptual exercise in style that distorts and transforms reality into an almost oneiric and disorienting dimension.

MORE BOOKS