Tamami Iinuma - Face at a Distance - The Noguchi Museum, Long Island, NYC
When I photograph architecture, I want to catch the casual faces in everyday life rather than the formal ones. To do so, I first observe their various lines and measure their distances, and then look for the 面 (men, meaning both planes and faces in Japanese) emerging from the air that fills the space and from the light that shines in.
In December 2018, I was in New York City for the first time and visited The Noguchi Museum in Long Island. There, I sensed something exceptional ― as if the breath of the architecture and that of the camera were synchronizing.
I realized the photographer's ingenuity had mercilessly failed and automatically surrendered to the camera and let the shutter release itself. I noticed this dialogue between me and the architecture was what I had always relished, and it would continue to be how I would photograph architecture in the future.
I enjoyed it and noticed this would be how I would photograph architecture from now on.
- Tamami Iinuma
Photographs Tamami Iinuma
Design: Yuto Takamuro
English Supervise: Kana Kawanishi
H250 x W168mm
36p., 29 photographs with short essay in English
Printing: Nissha Digital Printing
Publisher: House of Architecture
© House of Architecture
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Tamami Iinuma - Face at a Distance - The Noguchi Museum, Long Island, NYC
When I photograph architecture, I want to catch the casual faces in everyday life rather than the formal ones. To do so, I first observe their various lines and measure their distances, and then look for the 面 (men, meaning both planes and faces in Japanese) emerging from the air that fills the space and from the light that shines in.
In December 2018, I was in New York City for the first time and visited The Noguchi Museum in Long Island. There, I sensed something exceptional ― as if the breath of the architecture and that of the camera were synchronizing.
I realized the photographer's ingenuity had mercilessly failed and automatically surrendered to the camera and let the shutter release itself. I noticed this dialogue between me and the architecture was what I had always relished, and it would continue to be how I would photograph architecture in the future.
I enjoyed it and noticed this would be how I would photograph architecture from now on.
- Tamami Iinuma
Photographs Tamami Iinuma
Design: Yuto Takamuro
English Supervise: Kana Kawanishi
H250 x W168mm
36p., 29 photographs with short essay in English
Printing: Nissha Digital Printing
Publisher: House of Architecture
© House of Architecture
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When I photograph architecture, I want to catch the casual faces in everyday life rather than the formal ones. To do so, I first observe their various lines and measure their distances, and then look for the 面 (men, meaning both planes and faces in Japanese) emerging from the air that fills the space and from the light that shines in.
In December 2018, I was in New York City for the first time and visited The Noguchi Museum in Long Island. There, I sensed something exceptional ― as if the breath of the architecture and that of the camera were synchronizing.
I realized the photographer's ingenuity had mercilessly failed and automatically surrendered to the camera and let the shutter release itself. I noticed this dialogue between me and the architecture was what I had always relished, and it would continue to be how I would photograph architecture in the future.
I enjoyed it and noticed this would be how I would photograph architecture from now on.
- Tamami Iinuma
Photographs Tamami Iinuma
Design: Yuto Takamuro
English Supervise: Kana Kawanishi
H250 x W168mm
36p., 29 photographs with short essay in English
Printing: Nissha Digital Printing
Publisher: House of Architecture
© House of Architecture
