I can’t believe myself. I can’t believe that I’m doing this again. Taking pictures, making books. Life put me back here, and I’m going ahead.
I remember printing very small pictures because having them in my hands makes it easier for me to juxtapose diptychs.
I made my first dummy through Blurb. It was great: good quality, really cheap, and even came with a free ISBN. But it took 2 months for one sample to get to me. I wasn’t sure it was practical. Losing time means losing many of my immediate ideas as well.
But I guess everything fell into place when I got back in touch with a good friend – my first Japanese girl friend, Chihiro. She’s a designer and has been helping Tatsuo Suzuki with his photozine series as well. …
I’ve been in love with black & white photography for seven years. My creative process involves 35mm films, instant pictures, found photographs, and manual collages, using my experiences here in Japan as the staple background. Whenever possible, I make use of the lost art of postcards and typewriters as well.
I used to publish content on MONØMANIA, but starting this year, I’ve decided to wholeheartedly focus on my personal works.
One of my ongoing projects is NOIR MYTHS, a quarterly series of photozines featuring my never-before published film shots in and out of Tokyo. …
One ordinary night five years ago, I was bombarded by a number of notifications on Facebook. Friends were congratulating me on being one of the lucky participants of the Angkor Photo Workshops. I didn’t believe it at first until I opened my email and read the message which literally sent shivers all over my body. It was a great kind of shivers.
I guess it’s okay to say that I only tried my luck when I submitted my entry to their call for applications. The body of work I submitted was completely raw as it was the same project I worked on during my mentorship at Invisible Photography Asia that same year. …