Mark Hohmann: Framing Space in Japanese Photography
Something specific that comes to mind here is the intentional, pragmatic and architectural use of space in Japanese photography and Japanese film since the 1920′s. Their use of negative space – mostly composed, controlled and open – is not as intimidating and less filled with expression than their Western counterparts. Emotions such as anger, for example, are mostly expressed through contrast, focus or composition, rather than direct expressive attitude or subjective gestures. To me, quintessential Japanese photography is strong because of its open, compositional distance and its emotional constraint and not because of its Western, in-your-face, “aggressive” spontaneity or directness.
Then he wrote about the importance of space in relation to the object
The great NY architect Richard Gluckman once told me that in his work he is always considering the importance of space in relation to the object: It is both the object that defines the space and the space that defines the object. According to him, a space isn’t finished until it is occupied by an intention. My advice is the same when I’m reviewing young photographer’s portfolios or speaking to my design assistants: Before photographing or designing space try to remove yourself from it and look at it from a distance or from the outside. Gather information about its purpose and its inherent qualities. This will bring it closer to the attributes I admire in great Japanese photographic works.
I have been exposed to Japanese culture from my early age but I still yet to understand what it is that makes me interested in the first place. This article (and other similar articles) will help me and others outside Japan to understand a little bit more about the Japanese art. The last paragraph is spot on.
An image that I like very much is a diptych story by Shingo Wakagi that was shot for my magazine Famous Aspect. The series is titled Tokyo Modern. One image shows a still life of beautiful weathered flowers, the other a girl in a kimono sitting on a bed in an apartment. There is an air of intimacy and distance that I really like and it reflects some of the ambiguities expressed above. Looking at it you have no sense of time. It is a fashion image yet there is no fashion there. It is sad yet beautiful. Close but unreachable.
