Spreads from Daido Moriyama: How I Take Photographs, published by Laurence King

Today, it seems everyone is an apprentice in the art of snapshot photography. Our tool is a phone, and our agent is social media. Thanks to a new book published by Laurence King, we get the opportunity to learn from the master. Daido Moriyama: How I Take Photographs is filled with glimpses of wisdom from the Japanese street photography forerunner, offering us rookie (and often much too prolific) iPhone-wielders a crash course in how to take snatched snaps that succeed in offering pause for thought.

今天，似乎每个人都是快照摄影艺术的学徒。 我们的工具是电话，我们的代理是社交媒体。 由于劳伦斯·金出版了一本新书，我们有机会向大师学习。 森山大多： 《我如何拍照》充满了来自日本街头摄影先驱者的智慧，为我们提供了一个新手 (通常也是太多产的)iPhone 手机使用者如何拍摄抢拍的速成课程，成功地提供了暂停思考的机会。

Written by Japanese author Takeshi Nakamoto, in close collaboration with the artist, we journey (both geographically and otherwise) through Moriyama’s creative practice. In the neatly titled first chapter ‘A Brief Guide to Snapshot Photography’, we’re advised the first step is to simply ‘get outside’. But, as explained by Nakamoto, it’s where to go – and where to look when you get there – that separates a good street photograph from a great one. It’s here that Moriyama’s famed instinct comes into play.

由日本作家中本武喜(TakeshiNakamoto)撰写，与艺术家密切合作，我们通过森山的创作实践(无论是地理上还是其他方面)旅行。在标题简洁的第一章“快照摄影简编指南”中，我们被建议的第一步就是简单地“到外面去”。但是，正如中本聪所解释的，把一张好的街道照片和一张伟大的照片区分开来的是去哪里-以及当你到达那里时该往哪里看。正是在这里，Moriyama著名的本能发挥了作用。

Photography: Daido Moriyama

摄影：森山直道(DaidoMoriyama)

‘Over and over again, Moriyama pauses in his tracks and just stands there, pressing the shutter button of his camera,’ writes Nakamoto, who accompanied the artist on many photography trips in researching the book. ‘Looking round, continually alert, he points the lens towards whatever catches his interest. Occasionally, he holds his camera at chest height, and just presses the shutter button, keeping it pressed down, taking one shot after another in quick succession, without bothering to look into the viewfinder.’

中本(Nakamoto)写道：“森山一次又一次地停下来，站在那里，按下相机的快门按钮。”中本聪曾多次陪同这位艺术家去研究这本书。他环顾四周，时刻保持警惕，把镜头指向任何引起他兴趣的东西。偶尔，他会把相机举到胸前高度，只按快门按钮，按住快门，一次又一次地连续拍摄，不费吹灰之力就能看到取景器。

From Ginza to Sunamachi, Haneda Airport to Tsukudajima, the photographer’s axioms unfold. We learn to observe the interaction between people at the street; to pay attention to the food on stalls and shop window displays, to ‘really look at things’, rather than taking wide abstractions, shaking off ‘concepts’, ‘themes’, and preconceived ideas. We ‘take a facsimile of the streets’.

从Ginza到Sundamchi，Haneda机场到Tsukudajima，摄影师的公理展开。我们学会观察街道上的人们之间的互动；关注商店橱窗和商店橱窗上的食物，“真正地看待事物”，而不是采取广泛的抽象、“概念”、“主题”和预先构思的想法。我们“把街道传真出去”。

Not your typical how-to guide, the book is a visual riot. As diverse as sweeping cityscapes, unctuous footprints in the mud, and intimate portraits of Ginza cafes. Despite the divergent themes, each image is connected by a certain wistfulness. Readers get the sense of what’s just out of shot; or what’s just happened – smudged moments captured from a moving car. Moriyama explains: ‘Call it a kind of melancholy – a sense of loss – that I felt about all the images I was conscious had now passed out of my grasp, and that were now behind me on the road … Something essential, something indefinable, that I was somehow letting escape – like water draining through a sieve.’

不是你的典型指南，这本书是视觉上的骚乱。城市风景如画，泥泞中的脚印，银座咖啡厅的亲密肖像，五花八门。尽管主题各不相同，但每一幅图像都是由某种渴望联系在一起的。读者能感觉到什么是无法拍摄到的，或者是刚刚发生的事情-从一辆行驶的汽车上捕捉到的污迹斑斑的瞬间。Moriyama解释道：“我觉得这是一种忧郁-一种失落的感觉-我感觉到所有我意识到的图像现在已经从我的掌握中消失了，现在已经在我身后的路上了-…。一些基本的，无法定义的东西，我不知怎么地让它逃之夭夭-就像水从筛子里流出来一样。“

Learning from the master, we also learn about him. Born in Osaka in 1938, he began his career as an independent photographer in 1964. Soon after, in 1968 he published his first photo book Japan: A Photo Theatre, one of the first photobooks to capture the ‘rough, blurry, out of focus’ aesthetic; for which Moriyama is now known. In it, and in his subsequent library of photobook releases, the artist steers clear of preconceptions, which Nakamoto explains, is mirrored in his attitude. Moriyama has a proclivity for saying: ‘Oh come on, get real’ – perhaps the best coded advise a snapshot photographer could receive. §

从主人那里学习，我们也会了解他。1938年出生在Osaka，1964年开始担任独立摄影师生涯。不久之后，他在1968年出版了他的第一册《日本：照片剧场》，其中一本是拍摄“粗糙的、模糊的、不聚焦的”美学的书，森山现在是已知的。在这本书中，以及在他后来的PhotoBook版本的图书馆里，艺术家们转向了一些先入概念，其中Nakamoto解释说，他的态度是反映在他的态度上的。Moriyama有一个倾向于说：“哦，来吧，真正的”-也许最好的编码建议是摄影师可以得到的。?