10x10: Japanese Photobooks

2012 is turning into the year of the Japanese photobook exhibition. After Contemporary Japanese Photobooks at The Photographers' Gallery in London, New Yorkers now have the 10×10 Japanese Photobooks Reading Room to look forward to from 28-30 September. 10x10 is a 3-day pop-up reading room sponsored by the International Center of Photography Library with 100 Japanese photobooks selected by 10 specialists (=10x10). Since this event is also sponsored by the Photobook Facebook Group, there had to be some online action too, so the organizers have asked 10 people from the Internet to each select 10 books, which, according to my stellar arithmetical abilities, gives us a total of 200 books. For my list, I have tried to select books that represent different facets of Japanese photobook production over the last 60 years (I have managed to get one book from every decade since the 1950s). I should also mention a few obstructions in my selection. Firstly, I was asked not to select books that had already been selected other participants. As I tend to do things at the last minute, I had to make a few changes to my initial selection. Secondly, I have only selected books that I own so I could include some (rather poor quality) photographs of them. So without further ado...

Hiroshi Hamaya, China as I Saw It [Mite Kita Chugoku]. (Tokyo: Kawade Shobo Shinsha, 1958).

In 1956, just before Mao's Great Leap Forward, Hamaya travelled through China to Canton, Shanghai, Xian, Lanzhou, Urumchi and Beijing. As with most of his early work, these photographs focus on the local folklore and people's everyday life. Although it is not self-published, this is one of the most self-made photobooks that I know of. Hamaya took the photographs, wrote the text, designed the book inside and out (which leads to some unusual layout choices) and used his own calligraphy on the cover and for the fantastic end papers (a hand-drawn map of the route he took through China). With the gorgeous gravure printing of the period thrown in for good measure, this is one of those "They don't make 'em like this anymore" books.

Naoya Hatakeyama, A Bird: Blast #130. (Tokyo: Taka Ishii Gallery, 2006).

I tried to avoid choosing personal favourites for this list, but I have to confess that this is one of them. The book is a kind of outtake from Hatakeyama's Blast series on the explosions used in limestone quarrying. The Blast pictures are frame-by-frame deconstructions of explosions of limestone taken with remote cameras in order to get as close as possible to the action. When going through his contact sheets, Hatakeyama discovered that a bird had flown through the frame for the duration of one such blast. The book starts just before the charges are set off and ends as the dust is still settling in the air. Throughout, the bird continues its flight, only adjusting its course slightly in order to avoid the disturbance below. The drama and violent beauty of the explosion is made to feel almost insignificant by this bird flying across the sky. The production of the book is nothing special, but then it doesn't need to be... in a way it reminds me of the flipbooks I loved so much as a kid. As an aside, Hatakeyama's Blast series has, amazingly, never been published as a book, but thankfully that is soon going to be put right.

Naoya Hatakeyama, A Bird. Blast 130

Eikoh Hosoe, The Butterfly Dream. (Kyoto: Seigensha, 2006).

Eikoh Hosoe has produced some of the great and most elaborate Japanese photobooks. The first two editions of Barakei and the first edition of Kamaitachi are some of the most sought after books on the market. This book from 2006, devoted to the late Butoh dancer, Kazuo Ohno, deserves to be better known. As with Tatsumi Hijikata, who collaborated with the photographer to embody the kamaitachi, Hosoe photographed Ohno throughout his dancing career until his death in 2010. Hosoe made the book as a gift for Ohno's century of life and it was published on the dancer's birthday. The Butterfly Dream was designed as a companion piece to Kamaitachi, so that each of the two masters of Butoh would have their own. The brilliant Tadanori Yokoo designed the slipcase for the book, just as for the 2005 Kamaitachi reprint produced by Aperture.

Mao Ishikawa. Hot Days in Camp Hansen [Atsuki Hibi ni Camp Hansen]. (Okinawa: Aaman Shuppan, 1982).

This is the first of two books on Okinawa in my selection. Ishikawa's first book, Hot Days in Camp Hansen is a very unusual beast. Photography was still a male-dominated world in Japan in the late 1970s and a female photographer from Okinawa would have had virtually no opportunities to publish her work at that time, let alone work has uninhibited as this. The book focuses on the girls who worked in bars catering for the American GIs near the US military bases. To do this project Ishikawa became one of these girls herself, working in one bar for a period of around 2 years. The result is an astonishingly frank but joyous and affectionate portrait of the girls she worked and lived with and the GIs who frequented the bar. One of a kind.

Kikuji Kawada, The Last Cosmology: Photographs. (Tokyo: 491, 1995).

Kawada is known—almost exclusively—for his 1965 book The Map [Chizu], an extraordinary photographic object that now fetches astronomical prices at auction. Whereas Chizu was a kind of mental map of the horrors of the Pacific War, The Last Cosmology is Kawada's personal map of the cosmos. Like many of his books, it combines seemingly unrelated images: long exposure photographs of of the night sky (Kawada is an amateur astronomer) are interspersed with visual fragments that echo the celestial patterns. Less elaborate in its construction than Chizu, like all of Kawada's books, it is still beautifully produced.

Jun Morinaga, Kawa, Ruiei / River, Its Shadow of Shadows (Tokyo: Yugensha, 1978).

Kawa is a study of Tokyo's waterways as they were slowly being choked by the economic boom of the postwar years. This is a book of texture: Morinaga focuses almost exclusively on the surface of the water, as it bubbles, froths and stagnates in the mud. One of the most remarkable things about Kawa is its design by Sugiura Kohei, the man behind many of the best Japanese photobooks of the 60s and 70s. His use of gatefolds slows the reading process down and draws you in to Morinaga's muddy, claustrophobic, abstract world and the way in which the images are integrated into the pages of text at the end of the book is masterful. Morinaga was W. Eugene Smith's assistant for his Minamata project and the latter contributed a short text to this title.

Seiji Shibuya, Dance (Tokyo: Akaaka, 2011).

For my money, Akaaka has been the most interesting photobook publisher in Japan over the last few years. Shibuya's previous book Birth, was a little too perfect for me, a succession of achingly beautiful images that didn't really go anywhere. Dance is a much stronger book, particularly thanks to the edit and the sequencing of the images where little series appear and disappear like musical riffs. The book was made from Shibuya's entire archive and the edit took around one year, using some images that Shibuya had apparently forgotten about. The book isn't driven by a concept or idea, but instead seems to focus on conveying a certain mood, a kind of sunny melancholy. This book also has my favourite cover of recent years, not so much for its cover image but because of the thick textured paper on which it is printed which just makes you want to pick it up.

Akihide Tamura, Afternoon. (Tokyo: Match and Company, 2009).

If most photobooks are novels, Afternoon is more of a short story. With a mere 23 plates of black-and-white landscapes over 32 pages, the book is remarkably economical but very well made... not an ounce of excess fat here. Tamura was one of the photographers featured in the landmark New Japanese Photography show at the MoMA in 1974. My sources (ahem, Wikipedia) tell me that he shot the stills for several of Akira Kurosawa's late movies, but I know very little about him apart from that. I know a little more about the publisher, Match and Company. They are the Machiguchi brothers, a cross between rock stars and book designers. Their books are immediately recognisable—maybe even a little too recognisable—with their clean, minimalist style and they are one of the few Japanese publishers with an eye for roman typography. They have also developed an interesting model, designing, producing and selling their books themselves through their online shop bookshop-m.

Shomei Tomatsu, Okinawa, Okinawa, Okinawa. (Tokyo: Shaken, 1969).

Although far less elaborate than those of Eikoh Hosoe, Tomatsu's books have also become some of the most highly collectible postwar Japanese photobooks. Okinawa, Okinawa, Okinawa is a somewhat lesser known title, which, you guessed it, focuses on the islands of Okinawa. Tomatsu has always been fascinated by the Americanization that took place in Japan after the war and in the 1960s he travelled to Okinawa, where the US has maintained a major military presence, to photograph. The islands became a major subject for his work and eventually his home (he has lived there for many years now), not only because of the US military presence, but also for their natural beauty and way of life so far removed from the intensity and chaos of Tokyo. In some ways this is a protest book (the slogans on the cover call for an end to the US occupation of the islands), but it also shows Tomatsu's burgeoning interest in the beauty of Okinawa and its way of life. Some of Tomatsu's color photographs of Okinawa appear in the current issue (#280) of Aperture magazine.

Yoshihiko Ueda, Quinault (Kyoto: Seigensha, 2003).

In the summer of 1990 while scouting for a location for a fashion shoot, Yoshihiko Ueda, a successful fashion photographer, had a “moment of vision” when he discovered the extraordinarily lush Quinault rainforest to the west of Seattle. Ueda eventually returned with an 8x10" camera and color film to try and recapture the feeling he first had in discovering Quinault. The images in the book are taken at eye-level in very low light to convey the feeling of wandering through this dense forest. The book is beautifully and very subtly printed on a thick matte paper in an oversize format to retain some sense of the imposing scale of the forest. If you are unfashionable enough to appreciate natural beauty, this one is for you.

Review: Nina Poppe, Ama

If I had to choose a single word to describe Nina Poppe's book Ama it would be 'modest.' It is not a 'clever' book, nor a powerful one. It is quiet and does little to promote itself (the book's open spine design which does not allow for text guarantees that it will be all but forgotten on a bookshelf). This modesty runs throughout every aspect of the book, from the subject matter to Poppe's photographic approach to her subject, and even to the book's size and design. In many ways it is a very ordinary photobook: a simple, straightforward documentation of the life of a small community. These unassuming, unfussy qualities could make it easy to overlook, and yet I think they are what make Ama one of the better recent photobooks of its kind.

Ama takes its title from the Japanese word given to these female divers. The book centres on a particular community of women abalone divers on the island of Ise-shima in Japan. Poppe has photographed these older women (they appear to all be in their 60s or 70s) as they prepare for and emerge from their dives, and go about the business of daily life. There are no photographs of the dives themselves. Instead Poppe has come up with the elegant solution of reproducing a spread of an ama mid-dive from Fosco Maraini's 1963 book The Island of the Fisherwomen, one of the books inspired her to undertake this project. The image is printed on a different, thinner, light blue paper stock which differentiates it from Poppe's pictures. The same device is used at the end of the book with an accordion fold on the same paper, featuring spreads from several other books through which she presumably researched the ama. I found this to be an elegant way of introducing what it was that attracted her to the subject in the first place and to share her love for the photobook.

In addition to the ritual of the dive, Ama reveals the physical environment of the island, giving a sense of an extremely simple lifestyle turned towards nature. Although it opens with a saying from the Ise-shima region which states that, "A woman who cannot feed a man is worthless," there isn't a single picture of a man in the book. Their absence gives this proverb an almost ironic quality, as the men seem irrelevant in the world of these women. Aside from the ama, the only other people that appear are children and young women. Their portraits seem to act as a contrast to the divers, raising the question of how different the lives of these different generations are. I couldn't help but wonder if any of these young girls were in any way interested in the tradition of the ama, or indeed could even become divers themselves one day, or whether the women pictured here would be amongst the last to dive in this way.

While this all may sound rather nostalgic or melodramatic, this isn't the sense that comes through in these photographs. These images are not romantic or lyrical. Instead, Poppe has built up a simple portrait of the ama and their island, one suffused with affection, warmth and respect, but which refrains from inscribing them in some form of mythology. This restraint is another of the book's great strengths for me.

Japan remains a fascinating photographic subject for the West and one which has a potent exotic aroma. Much of the work that I see by foreign photographers on Japan seems to be unable to get beyond a search for the exotic other, a search for a series of clichés or preconceived ideas rather than an attempt to photograph what is there. I was struck by the fact that Poppe, a young German woman, avoided this trap so assuredly. The result is that Ama does not feel like the book of an outsider, but rather a work with an open mind.

Nina Poppe, Ama (Heidelberg: Kehrer Verlag, 88 pages, 56 colour plates, 2012).

Rating: Recommended

Note: An exhibition of the series Ama is on show at Foam in Amsterdam from 11 May to 27 June 2012.

Review: Roberto Schena, SP 67

The road trip is one of the primal photographic gestures. It has given rise to some of the most celebrated series of photographs as well as to countless clichéd and forgettable pictures. Thanks to—or maybe even because of—Robert Frank's ten thousand mile drive across America which led to The Americans, it also feels like a quintessentially American exercise. The term also has an epic quality: it conjures up the idea of a seemingly never-ending journey. With his book SP 67, the Italian photographer Roberto Schena has played with the mythology of the road trip to explore a short (13km) stretch of road running through the mountains in northern Italy.

The books cover sets the mood: the landscape is wintry and barren and the air seems to be heavy with moisture. This is a book that is all about atmosphere. Although its title and endpapers (a reproduction of a map of this mountain road) seem to place importance on the particular location that Schena has chosen for this project, its subtitle, La strada della tramontana scura (The road of the dark north wind), is more revelatory of its nature. The book is structured like a drive from East to West along the SP 67, one almost entirely shrouded in a thick fog which only allows for glimpses of the surrounding landscape.

Most of the images in SP 67 are technically landscape photographs, but they reveal very little... the odd curve in the road... the foliage that surrounds it... always obscured by the incessant fog. This unsettling visual backdrop is punctuated by the odd animal apparition. This is what gives the book its rhythm: a pig running along a ridge on the horizon, a closeup of a horse's head, a goat or some dogs picked out of the darkness by the car's headlights. This creates the sense that this world belongs to animals rather than to men. This road seems to run through a parallel universe, a place that we recognise but where space and time are distorted and unfamiliar (another reviewer compared Schena's world to that of a Murakami novel).

While Schena has undeniably created a heavily atmospheric world with this work, I found it to be a little too impenetrable. SP 67 is a slippery book that left me with a lingering sense of frustration. Like a dream that you awake from feeling unsettled, but, no matter how hard you try, you just cannot remember.

Roberto Schena, SP 67 (Rome: Punctum, 112 pages, 51 colour plates, 2012).

Rating: Worth a look

Review: Will Steacy (ed.), Photographs Not Taken

We live in the age of photo proliferation. Digital technology in all its forms (cameras, phones, computers, the Internet) has made photography the most democratic of media, both in terms of making and disseminating images. And they are everywhere, all the time: on our TVs, our computer screens, our smartphones and in our streets. Of course, this state of affairs is not as new as we might think—it has been in place since Walter Benjamin and his age of mechanical reproduction—but digital technology has led this proliferation to take off exponentially.

The impact of this is clear, even in traditional, 'purist' photography circles. In 2007 the Musée de l'Elysée in Lausanne created a crowd-sourced exhibition entitled We Are All Photographers Now, allowing anyone to upload their photographs to be included in the show. More recently Europe's biggest photo-festival, the Rencontres d'Arles, centred on an exhibition entitled From Here On, a kind of manifesto for the age of the online image ("Now we're a species of editors. We all recycle, clip and cut, remix and upload. We can make images do anything.") where much of the work was made by artists appropriating or collecting other people's images. Even Elliot Erwitt has been saying that more pictures are better than one.  So what a relief to open a photobook (am I allowed to call it that?) and discover that it does not contain a single picture: the cover's 'empty' frame is the closest thing to an actual photograph.

Photographs Not Taken is a collection of essays about photographs that, for one reason or another, did not end up being taken. The writer and photographer Will Steacy, who edited the volume, asked an eclectic group of photographers (Emmet Gowin, Tim Hetherington, Laurel Nakadate and Jamel Shabazz all feature to give you an idea of the mix) to "abandon the conventional tools needed to make a photograph–camera, lens, film—and instead make a photograph using words." The book is both a collection of opportunities missed, of attempts to conjure up in words those images that got away, but also a look into the psychology of the photographer and their ethics, reflexes, and methods.

Naturally many of these non-photographs were not taken because of an ethical or moral decision by the photographer, a decision that photojournalists must face on a day-to-day basis. Interestingly, many of the writers contrasted the act of taking a photograph with the state of being present as a human being. In these cases the camera is described as a defense to hide behind, with which to shield the photographer from the impact of the moment happening in front of or to them. The book also has its more surreal moments: Matt Salacuse describes the scientologist jedi mind trickery of Tom Cruise forcing him to lower his camera and to pass up the opportunity of photographing Cruise and Kidman's newborn adopted baby.

It must be said that the essays are uneven... after all this is a collection of texts by photographers and not by writers. I found that some of the texts failed to bring the images to life, or perhaps that too many of these images ended up 'sounding' the same. For me Roger Ballen's essay stood out: he avoids any explanation of why he didn't photograph the scene he describes (did he even have a camera with him on that day?), but there is no question whose world this lost moment belonged to. Rather than in attempting to resurrect lost images through words, an exercise that surely would be better accomplished by a group of writers, I found Photographs Not Taken to be most successful when it makes the reader think about the decisions that go into making, or not making a photograph. And if it encourages us to put down our cameras from time to time, that can only be a good thing.

Note: The International Center of Photography in New York will be hosting a book signing with several of the contributors on Friday, March 23rd from 6:00-7:30 p.m.

Will Steacy (ed.), Photographs Not Taken, (Daylight, 2012).

Rating: Worth a look

Review: Donald Weber, Interrogations

The title of Donald Weber's latest book, Interrogations, is very appropriate: both because they are the book's subject, but also because this book raises a number of difficult questions which it deliberately refuses to answer. Set in Russia and the Ukraine, the book is made up of a series of portraits of people being questioned in different interrogation rooms, each as sparse as the next. By choosing not to include any captions and very little information about the context of these interrogations, Weber has put together a book which is an unflinching and discomfiting encounter with a particularly brutal and raw manifestation of power.

Although the interrogations themselves are book-ended by a prologue and an epilogue, these provide limited context. The prologue consists of images which set a mood for the book. They depict a bleak, difficult world punctuated by a few moments of natural beauty and provide an abstract sense of life in these parts. They also serve as a reminder that Weber did not parachute in to shoot his portraits but spent close to six years shooting in the region. Rather than showing us the specific worlds or lives of the subjects of the interrogations, the prologue creates a sense of foreboding for what is to come.

The epilogue—a longer essay by Larry Frolick and two shorter pieces by Frolick and Weber and by Weber on his own—refuses to provide much context either. Like the book's photographic introduction Frolick's essay is also a mood piece documenting a difficult trip that Frolick took with his Ukrainian fixer, an echo of the bleakness, strength and the violence of the world photographed by Weber.

As an object, the book is very well made. Its size, unusual 'vertical' format and the full-bleed one-per-spread treatment of the portraits all contribute to its intensity. The cover is initially a little confusing, until the portraits reveal that it replicates the cheap, textured wall of one of the interrogation rooms, a clever design feature.

Naturally the meat of the book is the portraits themselves. Taken in a handful of dingy, sparse interrogation rooms, they show different people undergoing a psychologically and sometimes physically violent interrogation process. We are not told who these people are are, what they are accused of, or why they are being interrogated. Indeed the book only indirectly reveals that these photographs were not staged and were taken during real interrogations. As one portrait follows the next, the emotions intensify. Concern and defensiveness give way to terror, panic and perhaps most alarmingly to expressionless faces, the faces of people whose spirit has been broken. The claustrophobia and tension of these portraits is heightened as the interrogators are never revealed. The few glimpses that Weber affords us are manifestations of pure violence and intimidation: a hand outstretched to grab a man or to strike another on the back of the head. In two of the most shocking portraits an interrogator presses a gun to the head of their subject.

Weber prides himself on his unflinching gaze and this comes through clearly in these portraits. Just as for those being interrogated, there is no respite or redemption in the book: we are 'forced' to stare head on at raw terror, at the loss of dignity, at brutal physical intimidation. The overall effect is visceral and deeply uncomfortable. In Weber's words, "the unseen subject of these photographs is Power". For me this is the success of the book: by removing any context about these people, thereby turning them into the "Invisible Man", and by reducing the interrogators to faceless threats, to an abstraction of brute force, Interrogations is able to grapple with the 'capitalised' ideas of Power, Violence and Fear.

The book also raises some fundamental questions about the photographic process at play here. By sitting through these interrogations and photographing them without intervening, was Weber not complicit in their violence and their brutality? Indeed, by looking at these pictures are we not also complicit in their violence? What did Weber have to do to get access to these situations, who did he have to associate with and what, if anything, did he do for those that were being subjected to this violence? Why did he show them stripped of all dignity and reduce them to total anonymity? These questions are not new: they are at the heart of any documentary photographic practice, but this book poses them in the starkest manner possible.

Although he does not answer them directly in the book, Weber has been quite open in interviews (with Colin Pantall and with Pete Brook) about his process and the questions his images raise about his motivation and responsibility as a photographer. However, for me the book's one failure is in Frolick and Weber's short essay outlining the intentions for this project. The text manages to be grandiloquent ("the photos in this book were ... the inevitable product of a Western artistic sensibility confronting the mystery of the Other"), confused ("the artist's goal is to shock us with our own wordlessness: to show us proofs of life in its willful alternative histories") and sometimes a little silly ("exposing yourself to the cold winds of the void", "speaking in silence"), in a way that feels very much at odds with the directness and simplicity of these photographs. The book would have been even more brutally powerful without this poor articulation in words of what it succeeds in doing with images alone.

Donald Weber, Interrogations. (Amsterdam: Schilt Publishing, 160 pages, colour plates, 2011).

Rating: Recommended