Decisive photo theory

A "dream masterpiece" full of enthusiasm from the 1970s

A must-read classic for studying the history of Japanese postwar photography

What is photography? What is photo taking? What is a photographer?

Two geniuses active at the forefront of photography

No. 1 Japanese female body photo artist Sasayama Noribu╳Moriyama Daido’s favorite rival Nakahira Takuma

"Duel Photo Theory" where "image" and "discourse" engage in a verbal battle!

Book selection by graphic designer Wang Zhihong, recommended by design art critic Zhang Shilun

◎An important helmsman who led the development of post-war Japanese photography and the favorite critic of the masters

Takuma Nakahira was an important photographer and critic in post-war Japan. In 1968, he founded the photography magazine Provoke , which redefined the direction of modern Japanese photography and shook and subverted the then-precision and aesthetic standards. Mainstream photography aesthetic standards, causing a sensation. His photographic works and comments are highly praised by heavyweight masters such as Araki Nobuyoshi and Moriyama Daido. Moriyama once said in his autobiography, "My favorite rival is Nakahira Takuma." "The theory of photography that deeply stimulates me is "Written by Takuma Nakahira", even contemporary photography critic and editor-in-chief of " deja-vu " magazine Kotaro Iizawa said: "Nakahira was an authoritative photographer and critic in Japan from the late 1960s to the mid-1970s. Words are very powerful and have a great impact on me.”

◎Chain-washing text + more than a hundred charming photos, two geniuses teamed up to create a "dream masterpiece"

In 1976, the well-known photography magazine "Asahi Camera" invited Nakahira Takuma and the popular photographer Sasayama Kishin to jointly publish a column. Starting with Sasayama's photographic works and introduction, Nakahira penetrated the lens and penetrated into the photographer's inner world. The photographic treatise "Juehe Photo Theory" was born. Over the course of a year, the two explored "What is photography?" and "The act of photography" through 13 themes: home, sunny day, temple, urban area, journey, India, work, wind, wife, daily life, interlude, Paris and stars. What is it?" "What is a photographer?" and other related issues will be discussed and thought about in depth. Zhongping's naked, sharp and profound questioning and analysis has brought an unprecedented strong impact to today's educated youth and art workers:

◎It does not create any images, but can echo the world and reality; it does not have any transcendental images, so it can show the world as a world.

◎Photography just places everyday objects quietly at a certain distance, reminding us of their original shapes.

◎When things begin to tell the fact that they are nothing but simple things─that is the beginning of the reaction of things on human beings.

◎Only when the "world" is willing to accept the original appearance of things and the hostile sight reflected back by it can the photographer press the shutter.

◎Treat people you don’t know as mature people, treat acquaintances as if you don’t know them, stare at the “world” and “private”, and observe them.

◎What photography possesses is the magic that only photography can possess. It is the catalyst that forces all imaginations and delusions out; photography is the trap of time.

◎When the details of things reach their limit and are captured vividly, fantasy and vision emerge on the other side; only the moment when the visual boundary is reached is the moment when the realm of fantasy emerges, and the disintegration of selfishness begins.

◎Photography always betrays the photographer's consciousness of its "author" and thrusts the world beyond consciousness into the photographer. This deviation is irreplaceable.

◎Once the world and things begin to speak, the photographer quietly disappears from the inside of photography.

◎ Photography does not eliminate the mimicry of reality, but raises questions about the totality of reality by returning to the original reality.

◎Behind all the clear focus and meaning, there is an ambiguity, a lack of background that firmly supports the meaning.

◎Kishinobu Shinoyama pulls things hard and then lets go at the most tense moments, which is to resist the meaning we usually give to reality and then re-give it our own private meaning.

◎The only thing a photographer can accomplish is to continue to question the world and reality, "Why?" But photographers can never answer this question alone, because it is not us who have the answer to this question, but the world. …

The year-long series received constant acclaim and was immediately published as a book the following year. It was an important collection of photography criticism at that time. Thirty-five years later, it has been hailed as a "dream masterpiece" full of enthusiasm in the 1970s. It is an important classic for understanding the development of post-war Japanese photography. Under the guidance of curator/art critic Huang Yaji (the curator of Zhongping's first exhibition in Taiwan ) and "source series" editor-in-chief and graphic designer Wang Zhihong, the world's only Chinese version has been revived in Taiwan.