Moriyama is known above all for the pictures made during the turbulent 1960s and early 1970s, called bure-boke — blurred and out of focus — in reference to his way of shooting. The other side of his approach unfolds in the darkroom, where the frames are handled so as to give very contrasted prints with a coarse grain. Published in 1972, Shashin yo sayonara is arguably the volume that best embodies that method, pushed to the point where the picture comes apart.