Ectoplasma Profiling by Osamu Kanemura (signed)
Publisher: LibroArte, Tokyo, 2014
Book Size, 147 x 222 mm, Pages, 96 pages, Binding Softcover
Active in photography since the 1990s, Kanemura’s work has been well-received by critics in Japan and abroad. In 2014, unfazed by fleeting acidic smells, under- or overexposure, uneven development, water shortages, screen scratches, dust, or wavy roll prints, he was awarded the Nobuo Ina Award for his Nikon Salon exhibition—where his prints were pinned directly to the wall.
In 2013, Kanemura received his first digital camera, a Ricoh GR, and began photographing digitally with the same dedication as his film work.
“With digital photography, you start to become nervous as soon as you stop shooting.”
Like someone with obsessive-compulsive tendencies, he began photographing the world as if possessed.
“Where lies photography’s aspiration in an age when compact digital cameras, iPhones, and smartphones allow limitless shooting?”
These flowing, flickering city fragments—are they photographs or images?—come without the cycle of scrap and repeat, without the catharsis that flaws can bring.
Challenging both analog traditions and digital extremes, Kanemura explores a new kind of photography. For this debut digital photobook, he selected 158 images from tens of thousands taken in a single year, edited alongside 10,000 characters of Japanese text by the author.
Ectoplasma Profiling by Osamu Kanemura (signed)
Publisher: LibroArte, Tokyo, 2014
Book Size, 147 x 222 mm, Pages, 96 pages, Binding Softcover
Active in photography since the 1990s, Kanemura’s work has been well-received by critics in Japan and abroad. In 2014, unfazed by fleeting acidic smells, under- or overexposure, uneven development, water shortages, screen scratches, dust, or wavy roll prints, he was awarded the Nobuo Ina Award for his Nikon Salon exhibition—where his prints were pinned directly to the wall.
In 2013, Kanemura received his first digital camera, a Ricoh GR, and began photographing digitally with the same dedication as his film work.
“With digital photography, you start to become nervous as soon as you stop shooting.”
Like someone with obsessive-compulsive tendencies, he began photographing the world as if possessed.
“Where lies photography’s aspiration in an age when compact digital cameras, iPhones, and smartphones allow limitless shooting?”
These flowing, flickering city fragments—are they photographs or images?—come without the cycle of scrap and repeat, without the catharsis that flaws can bring.
Challenging both analog traditions and digital extremes, Kanemura explores a new kind of photography. For this debut digital photobook, he selected 158 images from tens of thousands taken in a single year, edited alongside 10,000 characters of Japanese text by the author.
