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Mariko Yamada, when taking and presenting her portrait work, has a strong consciousness of building a community in her hometown of Shimizu, Shizuoka Prefecture. We spoke to her about the thrill she felt when winning an Excellence Award for photos of her family.

Photography was a tool for approaching people

-Tell me about what got you into photography.

I’ve always liked taking photos, and in junior high and high school I took shots of scenery and whatnot, but I found taking people interesting after some photos I took of my friends turned out looking very sweet and cute. Girls at that age tend to form cliques, but I was never a part of them. But, with a camera I could build relationships with people. I couldn’t part with my camera because I relied on it so much as a means of communication.

-When did you start consciously taking photos of people?

While at university, I went to Yoruno Shashin Gakkoh [Night Photo School], which was run by the photographer Masato Seto. Mr. Seto advised me that I should use a macro lens if I’m going to shoot people. That got me thinking that photography is more than just pressing the shutter button. It was after I entered university that I started shooting using lighting effects.

-Your solo exhibitions, such as “Portraits of 100 People” and “Portraits of 200 People in Shizuoka,” feature people who are active in building communities in your area of Shizuoka Prefecture. Where did the idea of shooting people in your local community come from?

When I returned from Tokyo, I found that Shimizu’s shopping districts had mostly closed down and the place looked desolate. Because I had studied urban planning at university, I tried to think of ways I could help the community, so I planned a photo exhibition. By holding a photo exhibition, I hoped that many different people would gather in one place and it would become a space for conversation.

-You have photographed many people. How did you get in contact with so many people?

It started out with my friends. Then my friends would introduce me to interesting characters, who would introduce me to even more people. I was a jobless graduate, so if anyone were willing I would go and photograph them. I ended up photographing a massive number of people

-But there must be differences between shooting people in your community and shooting your friends. Was it hard to express the background as your own?

Taking photos is the work of approaching people. I“ve come to grasp that it’s not about trying to shoot in some photographic way, but rather that I have to capture this person in this way. When you think about it, I approach people who know absolutely nothing about me except from my camera. I now realize that I have to tackle photography while having my own clear vision.

-This is a technique question, but you often shoot with a single spotlight at an angle that makes people appear to be looking up.

When I’m shooting a woman, I want to make her eyes appear large and to make wrinkles less noticeable. I want to shoot people in the way that makes them happiest. I find that having the focus on the eyes is really beautiful, but to capture the eyes with perfect lucidity seems to require the face to be in profile at that angle.

-How do you shoot in the field?

I shoot in ordinary homes, not studios. I make the room totally dark and then light the subject with a single tungsten light when I shoot. Facing the subject bathed in orange light creates a really holy mood. It’s a very beautiful and mysterious moment.

-Are there any photographers who have influenced you?

I like Nobuyoshi Araki and Shomei Tomatsu. I“d like to try something with the style of Tadahiko Hayashi’s “Nihon no keieisha 100-nin” [100 Japanese Businessmen]. I hope to meet lots of people.

-Communication is a huge component for you.

That’s right. Mr. Araki takes a lot of nudes. He is remarkable for creating the atmosphere that gets his models into that frame of mind. His ability to approach people is amazing. I want to go in that direction.

Winning with a work that is a confirmation of my origins

-The works you entered in this competition were photos of your family.

A person told me once to really think about why you are here and why you are doing photography. That’s when I thought that if my parents didn’t exist, I wouldn’t be here. So even though there are times I escape my parents because they worry about me doing something as dangerous as taking photos of strangers, I just had to photograph them.

-Why did you include the dog?

Because he’s family. Even though he’s not connected by blood, I know the dog thinks of me as family. He’s my family whether I do photography or not. It’s true of my parents as well. That’s why I took these photos as simply myself without relying on the camera.

-Is there anything different when you approach people with whom you have an unconditional relationship with as a photographer?

There were two things: the sensation that I’m actually the child of this person, and that my parents have lived their own lives. It was a strange feeling. By taking my parents’photos, I rededicated myself to photography. So it’s very gratifying to have these photos be acclaimed.

-What’s your next goal?

Sometimes I find myself caring too much about the responses or opinions of the people who act as subjects for me. From now on, I want to free myself a little more from what others think and be more selfish when I shoot. I want to channel more of myself into my photos. I’ll try to be more unconventional from now on, but I intend to be very serious about my photography.