barneycase-documentary: Exercise: Sobol-Petersen-Moriyama Connection.

Exercise: Sobol-Petersen-Moriyama Connection.

I was aware of Moriyama’s work as a result of visiting the Kline/Moriyama exhibition at Tate Modern in 2012. The connection between the two photographers was clear with Moriyama progressing the controlling style of Kline to a new level and adding an air of menace that Kline didn’t dwell on. One notable exception to this being Kline’s image of a boy pointing a toy gun straight at the camera.

Sobol and Peterson have clearly taken their lead from Moriyama as Moriyama took his lead from Kline. They have again moved it on and find no subject too odd or repulsive to photograph. I find it interesting that Sobol went to Moriyama’s Tokyo to work and there produced I, Tokyo which contains images of unremitting grimness and at times runs close to pornography.

Change the facial features for western ones and Peterson’s French Kiss follows this pattern of grime and ugliness. Nothing that passes in front of the lens is taboo. Willing or unwilling the subject is captured.

Working with small cameras, these street photographers can work fast and covertly so that their targets may not even be aware. In some pictures the subjects are clearly aware, and almost challenge the photographer to take the shot.

The link from Kline through Moriyama and on to Sobol and Peterson is clear with each one adding to the work of his predecessor. With the exception of Kline, they seem little interested in fine prints or polished production. They all work in black and white, often pushing the film to obtain the image. Nothing will escape their gaze nor be too sordid to photograph.

I include six images without attribution, date, or title. Who took which image?