Aside from my personal titles, I aim to continuously curate and publish more collective series, which is why I am happy to share that — I’m constantly looking for photographers to feature on the next volumes of モノマニアLOVE.
Send me an email at firstname.lastname@example.org with the subject: Monomania Love Submission
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I've been remotely working at home since the first week of June. I would probably enjoy it completely if it weren't essential to my current health condition. I've been feeling a lot better, though, so there is no need to worry about me. 🤍
I’ve only been going outside when I need to visit the doctor. It helps a lot that my favorite supermarket has a delivery service. As much as I enjoy staying in and staying away from the scorching summer heat outside, I sorely miss shooting the streets, which is why:
I've been doing all sorts of ways…
Exactly last year, August 20th, I felt the urge to do a random callout about doing a black & white film swap project. Surprisingly, even with my small heap of followers, many showed interested and it quickly escalated to a group endeavor.
Thirty-three, including yours truly, have exchanged — not just film rolls — but fleeting memories from our corners of the world. To commemorate our year-long experiment, I did the initiative to compile the best images that we’ve created into a photobook.
Here’s Monomania Love in Double Exposures.
September 2020 — present. Reporting to work in the middle of a pandemic is a nightmare, so instead of entirely dreading the 9–5 life, I conscientiously diverted myself to taking more pictures on my way to and from work. The two images in every diptych are captured and paired on the same days as a documentation of my daily bouts around Tokyo in the same manner — like an endless loop of day and night, of doom and gloom.
Same streets… Different shits!
Reporting to work in the middle of a pandemic is a nightmare, so instead of entirely dreading the 9–5 life, I conscientiously diverted myself to taking more pictures on my way to and from work. In about one month, I consistently created 100 diptychs, with each pair captured on the same days, and was compelled to continue documenting my daily bouts around Tokyo in the same manner — like an endless loop of day and night, of doom and gloom.
To my ever-dearest subscribers,
I miss you all. You see, for the whole month of June, I have been quiet online. And while I would like to keep things private until I’m ready, I have decided to write my 3rd newsletter, albeit shorter than usual, as a way of saying:
Hello, I’m okay. I hope that you are, too. 🤍
I’m kind of in a hiatus. But only online. And it doesn’t mean that I have stopped making photography. …
To my ever-dearest subscribers,
I can’t believe that 80 🙀 of you have agreed to receive monthly updates from me. I can only say: thank you very much!
In my first issue, I shared about the first year-long film photography project that I organized, my photography plans for 2021, and a bunch of job-related frustrations.
In this second issue, I am taking you back to 2015 and will talk about my very first self-published photozines, my lingering love for making photo collages, and a dream-come-true that was shattered-at-once.
A self-portrait in 2015:
In January 2015, I self-published by first-ever photozine…