The Leica and Japan — an association of which many legends are made of, but perhaps also a relationship that is often misunderstood or misinterpreted. Many people see the Japanese camera market solely populated by wealthy individuals that will put the precious machine only on the shelf, longing to be used to what is was made for, taking photos.
Together with John Sypal of Tokyo Camera Style we visited the Leica Ginza Shop in central Tokyo to find out what Leica in Japan is all about.
Japan Exposures’ contributors Dan Abbe and John Sypal recently had several online chat sessions about Japanese photographer Aya Fujioka and her new book, 私は眠らない, or I Don’t Sleep, published late last year by Akaaka Art Publishing.
In recent years Fuji has released some well-received film cameras, both for their functionality as well as for their looks. Their latest — the Instax Mini 90 Neo Classic instant film camera that hit the streets on September 20th — looks to continue this trend. No matter if it is just looks or function, the … Continue reading Fuji’s New Retro Instant Camera Now In Stock→
To me, the recent use of the term street photographer is similar to calling oneself artist or art photographer with an intention to add artificial value. I don’t think any respectable practitioner worth their salt would proclaim themselves with this title in this day and age. Nonetheless it appears that it is often banded around, especially on the social interwebs, with an intention to gain credibility or cool the same way teenagers would display branded clothes or gear to gain attention from peers or lowly outsiders.
Photographing strangers in public is neither new, nor does it deserve our increased attention or respect, especially when it is obvious that the photographer has no real interest in the subject except as a means to get the next best 15 seconds of fame and bizarrely unreal looking decisive moment. What Shinya Arimoto is presenting here could not be more different. The photos show that an interaction between photographer and subject must have taken place before and during which the photographs were made. Arimoto does not steal the moment while passing a subject and never shall the two meet again; instead he engages on a fair exchange, respectful and sustainable so that an ensuing photographic encounter would not appear unreasonable to either side.
Shinya Arimoto was born in 1971 in Osaka. He won the No.35 Taiyo award in 1997 and set up TOTEM POLE PHOTO GALLERY in 2008. Arimoto has been photographing and exhibiting work since 1994. Currently teaching photography at the Tokyo School of Visual Arts, he has supervised and lead the artist-run Totem Pole Photo Gallery since founding it in 2008.
While many Japanese photographers spent the post-war era exploring the shadow of Americanization that crept over their homeland through a foreign military presence, Niikura’s slim and charming collection eschews broad emotional depth to simply focus in on the cross cultural happenings of one particular afternoon; “Friendship Day”, the annual open house and Airshow held on base at Atsugi on May 9th, 1965.