There is one aspect of photographers that came after MORIYAMA, such as MORIYAMA's pupils, and others such as KURATA Seiji, YAMAUCHI Michio, KITAJIMA Keizo, NAKAI Hiroyasu and ONAKA Koji who have received influence, large or small, from MORIYAMA, although they should not be discussed sweepingly together: whatever their style of photograph, they fall within MORIYAMA's force of "anonymity". They build upon this continuation. However, MIZUTANI--who first met MORIYAMA at the latter's workshop, and who held his first solo exhibition on Moriyama's recommendation--he alone emits a different kind go feeling. […] What is so new and amazing about the photography of MIZUTANI? This "landscape-centric" photography of perspective appears to remain free of any contradiction, and stand unaffected by even Foucault's slight power. This, we might say, is an undertaking most prevalent for contemporary "expression" today.
Excerpt from IRISAWA Yoshitoki, 'The Emerging "New Landscape" - on the photography of MIZUTANI Kanji' which is complied in the photobook.