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寺山修司（1935年12月10日—1983年5月4日）“扮演”著多個角色，包括詩人、散文作家、劇團領導人、劇場導演、電影導演、舞台劇編劇、電影編劇、廣播劇編劇、作詞人、馬評家及拳擊評論家。因此，他曾說：“我的職業是寺山修司。”
他的多重身份不但都有卓越的成就，也因為他多重的身分跟獨特的品味，讓他成為日本前衛藝術跟前衛劇場、實驗電影的開創者。如果你細心你會發現他幾乎和所有日本七八零年代重要的藝術家都合作過。而且當初跟寺山合作的這些人，也都是當今日本藝術界等各個領域的重要支柱。寺山合作的人有橫尾忠則、森山大道、丸尾末廣、宇野亞良喜、金子國義、篠山紀信等等。這應該是除了多才多藝之外，最令人佩服的事情－－他總能發掘出那些可以創造時代的藝術家。並與他們維持一個良好的合作關係。
寺山修司自身的攝影啟蒙處源自於小時候住家旁的照相館，引發了他對攝影裝置的好奇。在開始劇場工作之後，荒木經惟成為了他的攝影老師 ，他成為荒木經惟的第一個弟子。荒木說當他把自己的第一本影印寫真帖送給寺山，很快就收到讚美跟鼓勵的信件，激起荒木的熱情進而做了25本影印寫真帖。而寺山也是每次都會回應給他熱情的讚美信，這是一個獨特的交遊經驗，也讓兩個人交互影響變得深遠。
寺山的照片可以說是他個人對夢境跟幻想的具體呈現。作品裡充滿了變裝跟各式各樣的機械道具，在經過巧妙設計的影像，巧妙結合成寺山修司的影像世界。不知道是否因為現在裝置攝影當道，整本寫真集很奇特的感覺完全不出已經是十幾二十年前的作品。這些影像其實也可以看出幾個合作的藝術家的交互影響，眼球譚讓我連想到的是篠山紀信，一千零一夜的照片又令人連想到細江英公，犬神一家又有沢渡 朔的感覺，並且也只有書末最後幾張照片有荒木經惟的影子，這是本小而奇的攝影集。
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