The 8th Exhibition of New Cosmos of Photography 1999
Report on the open-selection meetings
Public selection : Nov.5.1999(FRI)
An open-selection meeting to choose the grand prize winners in the 19th and 20th open contests, from eight excellent work award winners, was held at the venue of the eighth exhibition of “New Cosmos of Photography 1999,” at P3, auditorium of Tochoji Temple in Yotsuya, Tokyo. While many visitors watched, Takashi Yasumura received the grand prize, Momo Okabe a special prize, and Chinatsu Takemura, Izumi Tani, Eihachi Hara, and Mari Furukawa incentive prizes for their good works.
Overall Evaluation
At the 8th open-selection meeting of “New Cosmos of Photography,” the winning works of the 19th and 20th contests were evaluated.
Overview of the 19th selection
Nobuyoshi Araki
There are few serious looking works this time. The technical levels of most works are considerably high. Apart from the technical phase, works characterized by seriousness of deep thought, are no longer included. I don’t know whether that is a desirable trend or not, but I’m sure that the photographers base their pictures on their feelings, and I think that is a good point. Photographers used to try to be cool-headed in pressing the shutter release. Now cameras have changed, and it is difficult for them to stay calm. Of these many pictures, the works that seem to have been coolly photographed look dull and gloomy. We should sort of dance in our lives in the future. It might be considered to be frivolous, but in that way, we can blow away the current difficulties. Possibilities and genuineness should be encouraged.
Kotaro Iizawa
The number of applicants has increased, and it took me time to look at all of their works. Because there are no fixed rules about the volume and size for an entry, which is a characteristic of the “New Cosmos of Photography,” album-type works with more pages have increased. I would like them to know when enough is enough. Quality can not be replaced by quantity. If one picture were powerful enough, that would be best. Monochrome pictures are more attractive than increasing color photographs. Unfortunately, however, their finish is rough, and more attention to detail is required.
Fumio Nanjo
The works are of good quality and in large quantity. I assume that the popularity of this contest is growing. Works characterized by gloominess have decreased, while variations have increased. Taking pictures of performances is on the increase.
Sara Moon
I believe that to photograph is a means of transforming the accumulated facts, which are actually photographed, into something different. So, I feel disappointed when a photographer’s vision is not seen in the works. If a photographic image helps viewers find their way out of a maze, the work is certainly a good one. Therefore, excellent ones catch my eyes because they have clear visions. Each of them belongs to a different genre, has youthful enthusiasm, and tells me its own story. I hope that the photographers will see many good things, acquire originality in their vision and skills, and pursue an image that no other person can create.
Overview of the 20th selection
Nobuyoshi Araki
I am favorably impressed by the entries, because I can tell that the photographers are enjoying taking pictures; they photograph for their own sake, no one else’s. Unlike other genres of artistic expression, photography may be exclusively self-taught. Since the basic mechanism is a camera, the photographer’s feelings are shown straightforwardly in their pictures. It is just like a picture that a young boy draws with a crayon for the first time. There comes a dividing line between those who remain only in the technical sphere and those who go beyond that. This is the starting line for the competitors to line up. At this contest, I’m pleased to see the return of photographs with firm embodiments. I like photographs that have a photographic core and description of happiness.
Kotaro Iizawa
The quality of entries for the 20th New Cosmos Contest is high, and I enjoyed studying the applicants’ works as a judge. Only the number of pictures, in the form of albums, for example, seems to be a little too large. Though the applicants want, quite understandably, to give their works variety, trimming the amount often could give a more marked impact. I regret that some works that were very carefully made are left out of the selection. The methodological approach to appealing to viewers has been more refined, and so, what remains to be develops is to make clear what is being said.
Fumio Nanjo
After all, photographs that contain the photographer’s voice are powerful, regardless of whether it is described in words or not. It could be what the photographer feels, or what naturally comes out from the subject, i.e. a consequence of how the subject is photographed. In this contest there are may works in which the artists try to make their memories, identifications, or spirits appealing to viewers. If they were vague and soft, they would make merely sentimental images. Even if it is considered to be sentimental or romantic, it should have a core. The core could be youthfulness, anything that would give a powerful impact. Otherwise, the works wouldn’t move viewers. That makes an important difference between personal sentimental feelings and a work’s sentimentality. That sense of distance or objectivity is required in a photographer’s viewpoint. It also explains a difference between amateurs and professionals. I think that many entries have negatively oriented themes. At the end of the 20th century, you might as well look back on past days, but, why don’t we look ahead to next year, and the new millennium.
Shigeichi Nagano
Although I expected to see refreshing expressions which would make me experience totally different feelings, I was disappointed to find out that most of the works were getting nowhere. I would say, however, there are some pictures that reflect the photographer’s physiology. It is regrettable to see that most of the photographs in albums leave the impression that they aim only to fill out an album with suitable materials. I believe that taking pictures or, in other words, discovery is the essence of photography; the pleasure of expressing ideas or experiences. I doubt if photographers can be satisfied only with collecting materials to make albums, disregarding the pleasure of taking pictures. They are putting the cart before the horse, because they are not structuring an idea with selected pictures, but instead merely collecting materials to cover album pages. They are not motivated to proceed with taking pictures. When their purpose in taking pictures is to fill out albums, their photography will end when they complete them. I hope that they will move on, making their current works a springboard for their next jump.
