Communicating with the Subject

―The portraits you take feel almost as if they are emitting the very air from the moment your subjects were photographed.  Do you have any tips on how to develop a rapport with your subject?

I think that communicating with the subject is my particular strength.  In particular, it’s very important when I’m shooting people who are not used to being photographed, to be aware of the words I use and how I behave as a photographer in order to relax the subjects and get them to convey a good expression.

It doesn’t matter who the subject is, they are always nervous.  For example, even an actor will be nervous.  From the moment I meet them at the location and first say hello, I’m constantly appraising what the situation is – thinking about how to make them feel comfortable, what kind of expressions I’m making, my tone of voice, what topic of conversation is appropriate, all to communicate best with them.

I think the time shared between a photographer and the subject is a kind of romance.  For example, even if the shoot is only 5 minutes long, I want their concentration to be focused entirely on me.  That’s how I like to work – otherwise, the shot won’t come out any good.

When I’m concentrating all my attention on a photo shoot, there’s a moment when a good expression appears on the subject and a good light seems to shine on it. There are moments when it seems like God has perfectly coordinated everything. When I realize that I’m able to press the shutter at such a moment, I feel truly happy. That’s what I really enjoy.

Capturing On Film a Point That Even the Artist Hadn’t Noticed

ーWhat’s your approach to shooting scenes of exhibitions and installations?

Most people think that no matter who photographs them, all installations look the same. The mystery of photography is thinking “this photo can only be taken one way,” but when compared to those taken by other people, I can capture something completely different.

For example, if you’re shooting an installation, you can take a shot that shows the whole room, the wall next to it, and the wall at 90 degrees. First of all, I always make sure to take pictures of the basics that are necessary for an artist’s archive. Additionally, if you’re delivering, say, 100 photos, you’ll want to mix mainly documentary shots with some playful shots that can also be used for editorial purposes. I also try to include a good balance of things that are unique to the camera’s point of view that even the creator of the work may not have previously noticed.
I assemble the 100 photos as if I am on a single journey, starting with those that give a sense of security and ending with those that feel like discoveries.