Daido Moriyama

Slipcased, signed first edition, published by Sokyu-Sha, 2005. Signed by Moriyama at front free endpaper. A beautifully designed visual record of Daido Moriyama’s 1987 visit to a sm...

Signed First Edition, published by Getsuyosha, Japan, 2006. signed at Front Endpaper by Daido Moriyama. Signed at the first endpaper by Daido Moriyama, and in the classic ‘bunko’ fo...

First edition, published by Shimane Art Museum, Japan, 2003. Published to accompany the retrospective exhibition of the same name and drawing together some of the most important ima...

Signed First Edition, published by Kodansha, Japan, 2009. Signed by Daido Moriyama at the title page, this small ‘bunko’ format photobook, with its original Obi strip, is a beautifu...

First edition, limited to 3000 copies, published by PPP Editions, New York, 2002. Signed by Daido Moriyama at title page. “In 1971, Japanese photographer Daido Moriyama took a trip to New York City with Tadanori Yokoo. He stayed at the Chelsea Hotel and spent his days in The Museum of Modern Art Photography Study Center looking at pictures taken by Weegee. He shot 100 rolls of film with a half-frame camera, yielding 70 images per roll. Some of those pictures are presented here.” With hundreds of high quality black and white reproductions on heavy paper, and signed by Daido Moriyama at the title page, this classic photobook is immediately recognisable as Moriyama’s work, with his high-contrast, grainy and seemingly fleeting style. Including an interview with Moriyama, an essay by art writer and curator Neville Wakefield, and an appropriately chosen exact from James Baldwin’s Another Country, this is an involving record of Moriyama’s trip to a changing New York seen...

Signed First Edition, published by Getsuyosha, Japan, 2007. Signed at Front Endpaper by Daido Moriyama. A small but densely filled brilliant photobook from the master of street phot...

First edition, published by Ditch Projects, NY, 1998. Published on the occasion of exhibitions at Deitch Projects and Zeno X Gallery. Hirasawa examines publi...