Koji Murata


- born in Shiga prefecture, Japan in 1958.

- started to use single-lens reflex camera for taking astronomical photographs at age 10.

- have started to take photographs by digital single-lens reflex camera, do image procession and color management officially since 2008.

- was fascinated by printing on Japanese paper and then started to study the gradation

   peculiarity on every printing paper.

- became a member of Samurai Foto in 2013.

- "Japanese Beauty" SAMURAI FOTO exhibition in Tokyo, Japan (2013)

- SAMURAI FOTO exhibition in Yamagata, Japan (2014)

- the finalist of the Photolucida Critical Mass in 2016

- "Emerging Visions of Japan" SAMURAI FOTO exhibition in Yokohama, Japan (2017)

- "Making a beautiful bridge" SAMURAI FOTO exhibition in Yokohama, Japan (2018)

- the finalist of the Photolucida Critical Mass in 2019

- "Endless Discovery" SAMURAI FOTO exhibition in Tokyo, Japan (2020)


English / 日本語




Nowadays, natural disasters occur throughout the world and expand its damage. Heavy natural destruction is the biggest contributor to natural disasters. I strongly insist that we need to restore the respect for nature in order to live on the earth for many years to come. Also, we should be wise to know how to overcome natural disasters and live stronger… Since ancient times, numerous natural disasters have affected people in Japan. We have a feeling of awe and sacred of nature. And we have a philosophy of conquering the sadness and emptiness of the disasters. They are Japanese idealism. I want many people in the world know our spirits so as to reduce disasters and I hope my photographs help people who are in the face of adversities. 




The three important factors for my expression in my projects are; first, the existence of outline of the object that can strongly indicate my theme, second, the imagination that allows us to travel back to the ancient times when we awed nature, and third, the existence of colors that invoke them.

Outline of objects is something that only humans can recognize.  I was attracted to the strong impression and effects that these lines can bring to my photos as I compared them with ordinary photos without them.

As I emphasized the shape of the objects by showing the outlines, I omitted and simplified my expression by eliminating unnecessary details as much as possible and flattened the tones. By doing so, I thought my theme would stand out better.

As a result of my endavor of omitting and simplifying, I was able to find my expression having something common with a traditional Japanese‘Ukiyo-e’or woodblock print.  I somewhat feel I was able to understand how Hiroshi Yoshida (1876-1950), a famous Japanese woodblock artist, felt when he had shifted away from oil painting/ watercolor and turned to woodblock.