March 12, 2010   4 notes
Tomoyuki Sakaguchi I first saw Tomoyuki Sakaguchi’s images of suburban Tokyo when I was in my third year of a photography BA and something of a transparency film snob. Everything had to be film, and the only purpose of digital was quick and dirty snapshots. Sakaguchi’s work was the catalyst that suddenly pointed out that fine art photography is not strictly the reserve of film. The appeal of Sakaguchi’s series Home is, for me, how effectively it marries the ‘look’ of digital photography to the content of the series. The strange quality of light and the unnatural saturation and tonality of the greenery have a uniquely digital aesthetic.

Tomoyuki Sakaguchi

I first saw Tomoyuki Sakaguchi’s images of suburban Tokyo when I was in my third year of a photography BA and something of a transparency film snob. Everything had to be film, and the only purpose of digital was quick and dirty snapshots. Sakaguchi’s work was the catalyst that suddenly pointed out that fine art photography is not strictly the reserve of film. The appeal of Sakaguchi’s series Home is, for me, how effectively it marries the ‘look’ of digital photography to the content of the series. The strange quality of light and the unnatural saturation and tonality of the greenery have a uniquely digital aesthetic.

  1. japanexposures posted this