The advent of selfies and Instagram has fundamentally shifted the way we think about photography. Perhaps one of the more welcome casualties of this change is the posed family portrait.
Famed Japanese photographer Masahisa Fukase, born in 1934, seems to have had little patience for the most conservative of photographic forms. This collection, first published in Japan in 1991 and here reissued with two essays translated by Lucy North — one by Fukase, the other a retrospective by Tomo Kosuga, director of the Masahisa Fukase archives, following Fukase's death in 2012 — turns the idea of the family portrait on its head, simultaneously reinvigorating and ridiculing it.
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