
Iki Mochi works alone, on foot, and almost always before the first train. He trained as an architect in Osaka and spent nine years drawing buildings he would never see built, which is where the patience came from, and the habit of standing in one place long enough for the light to decide what the subject is.
He photographs the parts of Japan everyone has already photographed, and insists that is the point. A torii at low tide, a grove at six in the morning, a castle keep in flat white light: pictures that only separate themselves from the millions beside them by how long someone was willing to wait. He shoots in black and white because color, he says, keeps telling you where to look.
His rule is one frame a location. If it does not happen, he comes back next season.
He is a shiba inu. He does not consider this relevant to the work.
White Heron KeepHimeji, Hyogo
Pagoda, Clear MorningChureito, Fujiyoshida
Ten Thousand GatesFushimi Inari, Kyoto
Azusa River, Spring MeltKamikochi, Nagano
Thatch and SnowlightShirakawa-go, Gifu
Nachi, Long FallNachi Falls, Wakayama
Dune Ridge, Wind OnlyTottori Sand Dunes
Torii at Low TideMiyajima, Hiroshima
Grove, Before OpeningArashiyama, Kyoto
Fuji, Still WaterLake Sai, Yamanashi