I began working with Disposable cameras about 15 years ago. For taking shots of everyday life, the pocketability and snapshot sensibility were an escape from the bulk of a DSLR camera, and the raw aesthetic was  an antidote to the infinite possibilities of digital retouching. I found an exciting sense of poetry in capturing fleeting moments in a country where appreciation for the transient nature of life and pathos of things is such an intrinsic part of the culture.

Over time, these images became a study of identity and belonging, sequenced to reflect the layered realities of contemporary Japan.

At the end of 2019, I published DISPOSABLES as a photobook of 119 images. a deliberate parallel to Hiroshige’s One Hundred Famous Views of Edo. Like Hiroshige, the work observes how the sacred and the ordinary coexist within the “Floating World,” challenging the notion of Japan as a homogenous society by presenting it in its multiplicity.

​Read about DISPOSABLES on DAZED, The Face and The British Journal of Photography.