Photo critic. Born in Miyagi Prefecture in 1954. Graduated from the Department of Photography, Faculty of Arts, Nihon University in 1977. Completed the doctoral course in art at Tsukuba University Graduate School in 1984. Published the first issue of quarterly photo magazine “déjà-vu” in 1990, and was the chief editor until January 1994. Besides actively writing on the history of Japanese photography based on his fieldwork, he works energetically in other fields such as illustrations. His recent books include “Shashin ni tsuite hanaso (Let’s Talk About Photos),” “246 Loaded Photography Books,” and “Japanese Photographers.” D-Library Kaolinite is a library he opened at Koenji, Tokyo in May 2005, where visitors can look through the photo books included in his “246 Loaded Photography Books” and other photo-related publications.
-How do you think New Cosmos of Photography has changed since judging the 1st contest?
Until about the mid ‘90s, it was impossible to anticipate what kind of innovative pieces would leap out at us. What’s more, entries included not only those presented on a flat surface, but several that experimented with installations that used space effectively. I sensed a real passion for trying to expand the boundaries of photographic expression. When judging pieces, one sensed that photography was moving in a significantly new direction. But in the late ‘90s, things seemed to stagnate somewhat. I found myself thinking that this or that had already been done - we no longer saw experimental work. I would like to see more daring submissions. Whatever the approach, it should expand possibilities in unexpected ways. Rather than shrinking back, I want to see photographers explore and open their own paths.
-How would you describe the submissions of recent years?
There are fewer works whose presentation display mastery of technique as one might encounter in a work in a modern art museum; instead there is a trend toward a kind of back-to-the-basics “point and shoot” approach. Of course, today more submissions are shot with digital cameras and use digital processing, which is not so surprising since digital technology is now well established. As a judge, I’m looking for pieces that use digital technology in ways that achieve new modes of expression.
-What do you focus on when judging?
Photographic expression takes many forms. Rather than favoring a particular photographic approach, I select from a broad range. Photography can also be evaluated based on any number of criteria, and I don’t like to select a work that’s like something I’ve selected from a previous competition. I think the other judges probably take that into account as well.
The fact that New Cosmos of Photography is set up as a major show makes it different from other public exhibitions. The exhibition, public judging, and so on has both a fascination and scariness that’s not unlike showing yourself stark naked in public. It’s widely publicized and has an influence on society at large. It tends to put those who select and who are selected face to face with one another. The judge endeavors to turn that tension into a positive experience for both sides.
-What are your expectations for submissions for the current contest?
I really want to see things I haven’t seen before. Judges always like to be surprised. When I first saw the work of past winners Hiromix, Rika Noguchi, and Mika Ninagawa for example, I was really amazed.
I’m talking about self-confident work capturing a “that’s it!” moment when, after repeated tries, the photographer feels the work is complete. I really want to see this sort of self-confidence in submissions. Pieces that are still at the trial-and-error stage really stand out. They seem to be entrusting themselves to the judge with a sort of “how did I do?” attitude. I cannot imagine such pieces being selected. It’s no good if the artist doesn’t show confidence in the work. Because, you know, we [the judges] can tell the difference. Of course, artistic ability is important, but first off, I want to see pieces that express that “that’s it!” conviction.
