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巨匠・百々俊二。40年の歳月を超えた集大成。


自己表現に終始する回路を断ち、世界を開示する写真を求めてー。

写真家・百々俊二は1968年から1977年という激動の時代を駆け抜け、
それらを克明に、そして生々しく撮影をした。
学生運動。沖縄。米軍基地。炭坑。韓国。妻、息子。
26の断章で描く若き写真家の奮闘の記録。

「45年間胸にわだかまっていた。吐き出し、虫干しし、
ああでもない、こうでもないと尽きぬ思いを、すべてさらけ出して光を当てた写真集。」

ロングインタビュー 「生きている"生"の証しとしての"記録"」 収載


＜目次＞
1968年1月17日～21日...佐世保 [原子力空母エンタープライズ寄港阻止闘争]
1969年1月...東京 [東大安田講堂機動隊突入前後]
1969年1月～3月...大阪 [新世界劇場Ⅰ]
1969年4月28月...東京 [沖縄デー]
1969年7月...沖縄 [初めての沖縄はアメリカでも日本でもなく沖縄だった]
1969年10月27日...福岡 [九州大学教養部----バリケードの中へ]
1969年11月15日～17日...東京 [佐藤訪米]
1969年6月～10月...岩国 [アメリカ人のいる街----米海軍海兵隊岩国基地Ⅰ]
1970年9月～11月...大牟田 [汚染の街----近代化の矛盾]
1970年...Silkiness [節子Ⅰ]
1970年...ロンドン [燗熟の時]
1971年5月～11月...岩国 [アメリカ人のいる街――米海軍海兵隊岩国基地Ⅱ]
190年2月～1971年3月...大阪 [新世界劇場Ⅱ]
1971年9月～11月...大牟田 [告発の風景]
1971年1月...筑豊Ⅰ [石炭終焉のとき、荒廃の地]
1971年...婚約 [節子Ⅱ]
1971年3月...釜山港へ行く
1971年～72年...筑豊Ⅱ [地底の闇----最後の露天掘り貝島炭坑]
1972年3月・4月...金沢―長野 [新婚旅行]
1972年...青森県 [米軍三沢基地の街・六ヶ所村]
1973年...神戸・東灘 [新婚時代 節子III]
1974年...大阪 [新世界劇場III]
1974年...長男・新誕生 [節子IV]
1975年...大阪・旭区千林
1976年11月...青森・函館
1976年～77年...大阪

"In 2010, I started photographing with my 8×10 camera for Nihon Kai (The Sea of Japan).
  While I was processing ad drying my photographs, I happened upon a vintage print of mine from when I was a college student.
  The coarse-grained photograph reflected back the young photographer I was back then, furiously photographing anything and everything with unresolved anger at the chaotic times in Japan, Obviously, my methods back then were different from what they've become, After looking back on these memories, I couldn't help wanting to see more of my old photographs. It was an urge I could not resist.
  First, I looked for the prints I made between 1968 and 1977. There were almost no prints left from the ones I shot in Busan (S. Korea), Omuta (Fukuoka, Japan). and Okinawa (Japan). I made contact prints from all the negatives I could find and started printing them again.
  What joy to re-encounter myself and my thoughts from 45 years ago. Everything came back so clearly.
  Back then I photographed everything I saw without any rule or order, as if I wanted to own it all. My photographic skills and techniques were immature but I was trying to compensate with passion and the energy to take action.
  I could see that I believed my sensibilities and inspirations more important than any logic. And so through the photographs, I was able to rediscover the various emotions and feelings I was holding when I took the pictures. Sometimes I seemed sentimental, and sometimes I seemed surprised to encounter a new thing. I adored my young self, to see him being so astonished by what he was photographing and so completely lost in his work.
  These countless emotions had been rooted in my mind for the past 45 years, and I wanted to air them out: to let those inexpressible feelings out under the sun.
  Back then, when I was young, I never really wanted to have a photo exhibition or publish my own photo book. But when I first encountered the photographs of KURONUMA Koichi, I suddenly wanted him to recognize my work someday. And so I continued shooting and printing more and more photographs.
  But now, as I print all these photographs for this book in the darkroom, I realize that I have yet to archive that I was searching for and bring my emotions to fruition.
  I have stuck to photography because I want to leave something behind in this world.
  What I experienced in the decade between 1968 and 1978 is what enables me to continue pursuing my own photography to this day."     --- Shunji Dodo (from the postscript)