Google翻訳
The second collection of douujin "Provoke" by Koji Taki, Takuma Nakahira, Yutaka Takanashi, and Takahiko Okada. With the addition of Daido Moriyama from this issue, Okada's texts and the works of four photographers are included under the theme of "Eros". By the way, many of the "Eros" plates taken by Moriyama will appear in subsequent works, but Nobuyoshi Araki, who was a Dentsu employee and a fan of Provoke at that time, is a work of Moriyama's "Affair". I was the most jealous of him. Provoke has made a great contribution not only to Araki but also to fostering awareness of the issues of "what is photography" and "why do you take pictures", but Higashimatsu is the predecessor of that Provoke. It is lighting, and it can be said that the group could not have existed without Higashimatsu. Not only did he break away from the "realism" advocated by Ken Domon and others and made an early effort in avant-garde photographic expression after the war, but he also turned Takuma Nakahira into a "photographer" because of his encounter with Higashimatsu. There is also a point of contact between Nakahira and Moriyama, and between Nakahira and Taki, which was born from Higashimatsu. It cannot be overlooked that there was a great ancestor / key person in the shadow of Provoke.