A/FIXED

With interviews, essays, and reviews, A/FIXED brings the colorful culture behind Japanese photography history through Western lens. Get free 1st vol:

[A/FIXED @afixed_in]

"Young people, especially those who are into photography, should be more free, should go off and do what they want to do. Photography does not have a history, it’s still in the making." image from the series Club&Courts, 1988-90, © Miyako Ishiuchi #Afixed #japanesephotography

[A/FIXED @afixed_in]

"I am not very connected with the Japanese photography world. I once heard someone describe the Japanese photography scene as “boy’s club.” "---image from the series Club&Courts, 1988-90, © Miyako Ishiuchi #Afixed #JapanesePhotography #Japan #MiyakoIshiuchi

[A/FIXED @afixed_in]

"Self-strength sounds like a very strong word, but to put it in different terms, it’s to be able to take on all responsibilities. In political terms, I wasn’t connected to sectors much. So I didn’t know much." image from the series Club&Courts, 1988-90, © Miyako Ishiuchi #Afixed

[A/FIXED @afixed_in]

"I was a student activist of the all-campus joint struggle league, I was in the barricades fighting against the authorities, around 68,9. "-Miyako Ishiucih from her exlusive interview with #Afixed,img from the series Club&Courts, 1988-90, © Miyako Ishiuchi

[A/FIXED @afixed_in]

"Good photography is one that speaks many words for itself. I do not like to speak out and tell people how or why I photographed what I did. Photography is only established when, and only when, someone else views them." image from the series Apartment,1977-78, © Miyako Ishiuchi

[A/FIXED @afixed_in]

"I wanted to hug time. In a sense, your body hugs (embraces) time. Your body is a vessel for time to fill up."-Miyako Ishiuchi from her exlusive interview with #Afixed,image from the series Apartment, 1977-78, © Miyako Ishiuchi #japanesephotography #MiyakoIshiuchi #Japan

[A/FIXED @afixed_in]

"I felt that with photography, being able to capture time was made a possibility. Time cannot be
seen, cannot be touched or smelled. It is the furthest thing from our five senses." image from the series Apartment, 1977-78, © Miyako Ishiuchi

[A/FIXED @afixed_in]

"When I lived in Yokosuka with my family, we lived in a 6-tatami room with the four of us. With those bad memories included, I decided to photograph “Apartment” next. "-Miyako Ishiuchi from the series Apartment,1977-78, © Miyako Ishiuchi #japanesephotography #Afixed #provoke

[A/FIXED @afixed_in]

I was inspired to start taking photographs around age 26. I was inspired to start in part because my boyfriend at the time was into photography and had all the equipment. -IMG from the series Yokosuka Story,1976-77,© Miyako Ishiuchi

[A/FIXED @afixed_in]

"I was able to debut Yokosuka Story quickly. Yokosuka was a very photogenic locale, in part because it had developed much quicker than neighboring cities." img: from the series Yokosuka Story, 1976-77, © Miyako Ishiuchi

[A/FIXED @afixed_in]

"Bases symbolized men to me because of all the assaults that happened to the girls in my city. The fact that I was a woman was carved into my because of this. "-Miyako Ishiuchi from her exlusive interview with #Afixed,image from the series Yokosuka Story,1976-77,© Miyako Ishiuchi

[A/FIXED @afixed_in]

"I felt out of place living in Yokosuka because I was surrounded by American culture by being close to the base; at the same time, though, I adored American culture." img:from the series Yokosuka Story,1976-77,© Miyako Ishiuchi

[A/FIXED @afixed_in]

"I lived in Yokosuka from elementary school through high school. After my class graduated from high school, my friend got engaged to a sailor. We went to the EM Club to watch a movie and to get to know him."img:from the series Yokosuka Story,1976-77,© Miyako Ishiuchi

[A/FIXED @afixed_in]

I felt like I was the only one who can photograph the real Yokosuka." - Miyako Ishiuchi, from her interview with #Afixed Read the whole interview through the link in our bio. #Afixed #JapanesePhotography #Japan #MiyakoIshiuchi

[A/FIXED @afixed_in]

Miyako Ishiuchi's Yokosuka Story documents the small port town, showing the architecture & streets to the people & landscapes. Her experimental style is consistent with that of the Provoke era, as her grainy, stark frames are uncentered & tilted - often shot from a moving car.

[A/FIXED @afixed_in]

"I also showed my principal in Tokyo University, my photos he cheered me on. I drifted the idea of going to photography school. Later the school was attacked and the situation was flipped." img: from the series Shinjuku Contemporary, 1967-68, © Hitomi Watanabe

[A/FIXED @afixed_in]

“I’ve never really thought about what I want to shoot. It was just the reality that I lived in and came in contact with.” - Hitomi Watanabe from her exlusive interview with #Afixed, image from the series Tekiya no Sekai, 1967-68, © Hitomi Watanabe

[A/FIXED @afixed_in]

A while back, we asked you for your favorite tote bag design & we have a winner! This bag will be available when we drop pre-orders for vol2. Perfect for toting the newsprint journal or your tablet with the digital edition of A/fixed (or both!😉) #afixed #artjournal #photography

[A/FIXED @afixed_in]

In 1960s Japan, Hitomi Watanabe persevered in a largely male-dominated profession: “There were not a lot of woman photographers during my time,” Watanabe says, adding that people “didn’t think that I would last long." from the series Tekiya no Sekai, 1967-68, © Hitomi Watanabe

[A/FIXED @afixed_in]

If you are in Spain, do make sure to visit the Shomei Tomatsu retrospective at @fmapfre's exhibition hall in Barcelona! It is the first Tomatsu retrospective of its kind in Spain. https://t.co/hQ1yhA0Fg8

[Fundación Mapfre @fmapfre]

Ángulos atrevidos, encuadres audaces.
Una mirada vanguardista y personal.
La mirada de Shomei Tomatsu.

#expo_tomatsu