ギャラリートーク/GALLERY TALK Toggle

The judges comments (translation)

Booklet pages 10-11:

  • KUWAJIMA Ikuru

It’s all good. The cropping is excellent. (Moriyama)

Strange composition, strange timing, beautifully captured. (Hosoe)

  • SUGIYAMA Hiroyasu

Photographs that move you are difficult to express in words. (Moriyama)

  • YAMAGUCHI Yutaro

It’s hard to believe that these were taken by a Japanese. They display the relationships between the subjects on quite a deep level. (Seto)

 

Pages 12-13:

  • Sergiy LEBEDYNSKYY

These works appeal to the broad depth of people’s memories. They contain a kind of universality and I was surprised to learn that they were taken this year. (Moriyama)

  • DEN Gai

They appear to be casual, normal ‘snaps’, but there is something weird about them. Suddenly you feel they contain a different world. (Moriyama)

  • TAKASHIMA Kuta

Each image has been created in subtly different way; they are based on a unique worldview. (Moriyama)

 

Pages 14-15:

  • CHONG Kok Yew

I have seen numerous photographs of elderly people, but this is the first photograph I have seen of them actually kissing. I like it. (Moriyama)

If you look at the woman’s gaze, you can feel something of the life she has lived through. (Hosoe)

  • Daniel LEE

Looking at them feels like reading a strange novel. (Moriyama)

  • ISHIKURA Tokuhiro

The titles don’t match but the photographs are great. (Seto)

  • ENOMOTO Yusuke

I like the one of the people standing watching. It stimulates my memory. (Moriyama)

 

Pages 16-17:

  • Probal RASHID

This photograph was the strangest and attracted me strongly. (Moriyama)

  • A. M. AHAD

These are powerful photographs. I wonder how they are received in Bangladesh. (Hosoe)

  • Muhammed Shaiful ISLAM

The picture of the child in number 4803 is terrific. (Moriyama)

  • PRASHANTA Kumar Saha

This photograph in particular creates a documentary containing a severe criticism of Bangladesh. (Hosoe)

 

Pages 18-19:

  • K. M. ASAD

The way in which they have been taken quite naturally as a documentary is a bit frightening. (Hosoe)

I like the vividness of the prints. (Moriyama)

  • Shahadat HOSSAIN

Everything about them is good. (Moriyama)

The way that they are shot from above is interesting. (Hosoe)

  • Khaled HASAN

Overall they are low key and flat, expressing a particular world. (Moriyama)

The contrast between the high-rises in the background and the buildings in the foreground allows us to feel the current situation; it symbolizes the present day. (Hosoe)

 

Pages 20-21:

  • Jan VALA

This is a continuation from last year. Technically, I think they are brilliant. (Seto)

I like the feeling of a locked room mystery. (Moriyama)

  • Piotr ZBIERSKI

There is nothing special about the subjects, but overall, they have a freaky atmosphere. (Moriyama)

Which is to say, they are good photographs. (Hosoe)

  • Mu-Tien HO

The back in 4052 is good. (Moriyama)

I saw these in Taiwan and recommended her to enter them in the YP. The shots have all been set up but the impression they create of peeping in on a scene is interesting. (Seto)

 

Pages 22-23:

  • HIMOZONO Eiko

She has a unique character.  The inscrutability of her work is interesting.  The pictures are all unconnected and mysterious. (Moriyama)

The colors are not safe. The gaudy color adds to the depth of the expression. The doll gives the impression that if a man were to approach, he would be stabbed. (Hosoe)

  • NAITO Yoko

Her work is smooth, but not simple. She creates a unique world through her color expressions. (Hosoe)

  • WATANABE Youka

They do not show anything in particular, but these pictures catch the attention. (Seto)

Particularly this photograph. That is a strange photograph. (Moriyama)

  • Severin VOGL

An unreal world that appears real. (Hosoe)

They possess a strange fascination. (Moriyama)

 

Pages 24-25:

  • Julia SMIRNOVA

They appear to have been taken quickly, but if you look carefully, they even possess a surrealistic impression. (Hosoe)

  • MIYOSHI Chihiro

I love the fact that they are entirely beautiful. (Moriyama)

I have rarely seen photographs like these. (Hosoe)

  • MIZUTANI Yoshinori

The way that real birds appear artificial is interesting. It feels as if another form of scenery has been born within the nature of the city. (Hosoe)

It is totally weird. (Moriyama)

 

Pages 26-27:

  • AO Leong Fu

They are frightening. They all contain images of death. (Seto)

They are excessive. In various meanings of the word. Their excessiveness is amazing. (Moriyama)

They can be said to be one artist’s expression of a contemporary exasperation. (Hosoe)

  • MATSUI Yasunori

I never knew you could create such powerful photographs using just one eye of an animal. ‘Do you hate animals?’ I would love to talk to him. (Hosoe)

  • KIMURA Hajime

I like the heartrending feel. The gloomy tone of the monochrome, too. (Moriyama)

  • YAMAJI Masaou

The person taking the pictures manages to get so close to his subjects that you wonder if he is homeless too. It feels as if he is photographing his friends. (Hosoe)

 

Pages 28-29:

  • TAIRA Hiroyoshi

Basically, he is a skilled ‘snap’ photographer. (Seto)

I think it was done on purpose, but although the photographs were taken during the day, they have been printed very dark. We can feel the weight of the works. I think it is an important form of expression. (Hosoe)

Simple and scary. (Moriyama)

  • TAFUKU Toshifumi

They are painful but good. Both models and photographers look like something from a picture book, which is what makes them painful to see. (Moriyama)

 

Pages 30-31:

  • Luna

It looks as if we are peering into a supermarket. (Moriyama)

This concept would never occur to me, it’s interesting. (Seto)

  • Julio BITTENCOURT

I think that the pictorial coloring in these works has been created purposely and skillfully. Amid this chaos we can feel the strong will of the photographer. (Hosoe)

It feels like darkness at midday. (Moriyama)

  • LEE Dongwoong

The views are indefinably erotic. (Moriyama)

 

 

 

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