日本人写真家、築地仁の作品集。装丁家・菊地信義によるブックデザイン。

都市の現実をつかむ驚きが写真にはある。次の瞬間、それを解体するのも写真だ。一葉の写真に、直観と情熱、寛容と冷徹、破壊と建設、主観と客観が合わさった、傑出したものを、偶然に抽出することはできる。しかし、それをこえる秀逸な二点目を撮り、遭遇することはむずかしい。わたしの理想は、次の一点を描き出すこと。そのために、写真的な生活をし、次の確信的な事態へと眼を進ませるのだ。写真は単純であれ、複雑であれ、光と、影の再現描写が、意識を拡張させる。その力が、美的、写真的反応にはたらきかけ、想像力が芽ばえ、内的、外的な相互補完的な連想がわきあがる。わたしは、写真＝像のアーキタイプを撮る。- 築地 仁

レビュー：金子隆一（写真史家）

Photography can do so much. It can awe and inspire by capturing and then immediately deconstructing the reality of cities. By chance, a photographer could produce an outstanding image, with the right measure of passion and intuition, understanding and criticism, destruction and construction, subjectivity and objectivity, and so on. However, it is almost impossible to encounter and capture something better than the first one. My goal is to capture the image that comes next. I try to live a photographic life to be ready to take deliberate and decisive action when the next moment comes. Photographs, whether they are simple or complicated, can heighten the awareness of the viewers through the representation of light and shadow. This power of photography is what stimulates an aesthetic or photographic response, inspires imagination and promotes the free association of ideas that are complementary, triggered by internal or external stimuli. This being said, I would say my photographs are architypes of images. - Hitoshi Tsukiji

Tsukiji's images have a hard-edged sharpness, betraying a predilection toward clearly defined forms and shapes. His style of photography tends toward the naive, but at the same time his work is highly evocative of the 1970s...quite in keeping with the work commonly seen at this time. This style also evokes Tsukiji’s ideas of what photography meant to him. The photography has a snapshot feel, suggesting that anything can be a subject of photography. ─ Ivan Vartanian and Ryuichi Kaneko（from Japanese Photobooks of the 1960s and 1970s, Aperture, 2009）

REVIEW：SHASHIN（PHOTOGRAPH）by Ryuichi Kaneko（Photography Historian）