#Tokihiro Sato

[mariaangels]

Tokihiro Sato

[ylespar]

Photo Respiration from the Sea #333 Yura, by Tokihiro Sato, 1999

[gacougnol]

Tokihiro Sato

Koto-ku Aomi #275

From "Light Breathing"

1996

[huariqueje]

Sakura on Sakura #16  -   Tokihiro Sato , 2018

Japan,b.1957-

Pigmented ink-jet print , 111.8 x 161.5  cm.  

[lafilleblanc]

Tokihiro Sato  

#170 Manji, 1992 Black and white transparency over lightbox 

via: Haines Gallery

[madhaikus]

The photos of Tokihiro Sato. https://hainesgallery.com/tokihiro-sato-work

[bingbangbhaung]

Tokihiro Sato — “Photo Respiration City Scape #22,” (1988)

Another example of Sato’s patience and hard work. With images like these Sato would use a flashlight taped to the end of a stick, or something like that. Long exposure and light, that’s what you (might) get. Crazy. 

[antharmukhi]

~

Breathing light.

I read recently that humans emit a certain amount of light! and I thought, in a thousand years from a place which is a thousand light years away they could look back through a telescope and see us moving still. Like how we can see a star that died a thousand years ago; the stars, in turn, see us; seeing them; we go on forever! the past and the present that is already a past, will always be happening. We die and die and die. but somewhere long after we are forgotten, in some other place, in sometime we are light still living, and we always will be.

These photographs are a style inspired by Tokihiro Sato’s “Photo-Respirations" series. They are long-exposure photographs of seemingly empty spaces, in which he sets his camera up on a tripod and physically moves around the space with a mirror or flashlight during the exposure to create bursts or streaks of light which record the rhythm of his movement within the picture plane. His works mesmerized me due to the magical feeling of life and movement within framed spaces. My own photographs were generally exposed for around 1 to 3 minutes, far short of Sato’s 1– to 3-hour exposures, and I used my head torch as a light source. I tried to seek out a variety of darkened outdoor spaces during the dusk, some of which had their own light sources in addition to the light of my head torch.

When a photographer enters his own frame, he becomes the subject! an artist inhabiting his own art, which creates a poetic and philosophical play, an exploration of our relationship with movement, with our presence, an ephemeral appearance. And these photographs remind me of my relationship with existence and of its fleeting nature.

[mariaangels]

Tokihiro Sato

[arefkhodabandeh]

توکی هیرو ساتو ( Tokihiro Sato )

توکی هیرو ساتو ( Tokihiro Sato )

خیابان های توکیو،  کم نور و متروک، با انبوهی از  نورهای عجیب دیده می شوند که یا به صورت مداری بالای سطح زمین شناوراند یا ردهایی درهم می بافند. صحنه ها غیرقابل انکار و وهم انگیز به نظر می رسند و تفسیرهای بی شماری ارائه می دهند. (more…)

[las-microfisuras]

HUÉRFANOS DE LA SOLEDAD

Una noche caminábamos tú y yo juntos.

La luna era tan brillante

que podíamos ver la senda entre los árboles.

Luego las nubes la escondieron

y tuvimos que tantear el camino

hasta que sentimos la arena bajo los pies desnudos

y escuchamos el rumor de las olas.

¿Recuerdas que me dijiste:

“Todo, fuera de este momento, es mentira”?

Nos desnudábamos en la oscuridad

al borde del agua

cuando arranqué el reloj de mi muñeca

y sin ser visto ni decir

nada, lo arrojé al mar.

-Charles Simic

Versión de Martín López Vega.

-Tokihiro Sato

#389 Kamaiso, 1999

[strathshepard]

Tokihiro Sato

[madamebeatrice]

Photo-Respiration #155 1992

(via SATO 155.jpeg)

[aanchir]

Imaginary Friend

(Spring 2017 Digital Photography Project 3)

This series of photographs is taken around Landmark College in a style inspired by Tokihiro Sato’s “Photo-Respirations" series. Sato’s “Photo-Respirations" or “Breath-Grams” are long-exposure photographs of seemingly empty spaces, in which he sets his camera up on a tripod and physically moves around the space with a mirror or flashlight during the exposure to create bursts or streaks of light which record the rhythm of his movement within the picture plane. These works mesmerized me due to the magical and otherworldly feeling of life and movement within seemingly deserted spaces. My own photographs were generally exposed for around 3 to 8 minutes, far short of Sato’s 1– to 3-hour exposures, and I used the flashlight feature of my phone as a light source. I tried to seek out a variety of darkened indoor and outdoor spaces, some of which had their own light sources in addition to the light of my phone.

Due to the shorter exposure time and this being my first experience with this style of photography, my movements had somewhat of a frantic and uneven rhythm compared to Sato’s more controlled approach, which is reflected in the visual rhythm of the photos. However, the strategy was still successful in adding a sense of energy to photos of otherwise empty spaces. My photo series also uses digital color photographs rather than traditional black-and-white photos like the works that inspired me, adding a further visual element in the form of contrast between warm and cool light sources. Creating these photos brought with it its fair share of surprises due to not being able to anticipate how the photo would look until I stopped moving and closed the camera shutter, which I think made creating this series that much more rewarding. The stories the photos told were not always the ones I expected to tell when I first set up my tripod, but they still presented a detailed, honest, and engaging portrayal of the light and my movement within the space in the few minutes that the shutter was open.

[bingbangbhaung]

Tokihiro Sato — “#294 Hattachi,” (1996)

Tokihiro Sato... I can’t even explain the extent of how far this photographer goes to accomplish the images he produces. You must have to have so much patience... Sato is a Japanese photographer that I accidentally stumbled upon. He is known for his “light painting�� photos. He uses the perfect shutter speeds and exposure times to create these light paintings. 

In this specific image, Sato used a small round mirror to reflect the light from the sun into the lens of his camera. The ocean looks calm and still because of how long the shutter had to stay open. There are videos of Sato struggling to stay above crashing waves, holding his arm out with the tiny mirror. It’s almost comical, but the end result is always stunning. I mean- look how far out he must’ve had to swim!

[yaya-tchoum]

"What remains of life, Except to have loved?”

~•Victor Hugo•~

#Victor Hugo,Inner Voices # photo Tokihiro Sato , Kashimagawa.