Published by SUPER LABO in 2015, Fukushima brings Antoine d’Agata’s photography to the landscape and aftermath of the 2011 nuclear disaster. The book is identified as a Japanese-language publication, and its subject is approached not through explanatory reportage but through an unusually sustained accumulation of images: contemporary accounts describe approximately six hundred black-and-white plates. That scale matters. It makes the book less a sequence of isolated illustrations than an extended photographic encounter with a place marked by catastrophe and its continuing presence.

D’Agata’s Fukushima is notable for the tension between documentary subject and uncompromising photographic form. The sheer volume of monochrome images resists a quick, conclusive reading; repetition, density, and the movement from one frame to the next become central to how the work is understood. Rather than offering a neat visual account of the disaster, the book asks the reader to remain with its atmosphere, its restricted spaces, and the difficulty of representing a zone whose meaning cannot be reduced to a single event.

For serious photobook collectors, the book deserves attention as a substantial contribution to the body of photography responding to 3/11. Its importance lies in the conjunction of subject, scale, and authorial commitment: a major contemporary photographer confronting Fukushima through an expansive black-and-white sequence, published by a press known here through the book’s bibliographic record as SUPER LABO. The volume’s Japanese-language context further places the work within the cultural field it addresses, while its large-scale sequencing gives it a distinct identity among photographic responses to the disaster. Fukushima is consequently best read as a book whose argument is made through accumulation—image after image, without simplifying the history it records.