Photo Album from Cuba: “A Midsummer Night’s Memory”

There were nights when each of their dreams gathered. The dreams became reality, and the reality became history. People with dreams can survive no matter what happens.
All the people were absorbed in music and dance. What we want, what we need, is not money. Somebody is looking for Cuba.
Costumes on passionate bodies. Sensuality and sensitivity overlap. They wore a dream.
This country might change its visitors’ standard of happiness. Who decided that we don’t have freedom? The goal of the journey of dreams that I’ve been looking for all along – that is Cuba.
Dance today. Dance tomorrow. Dance, dance and dance all night. Have a dream? Looking for a dream? Found a dream? Are you sure that you’re happy right now?
Seeing the bodies dance in Junko Koshino clothing, I remembered the sound from that night. We love it, this city. That is why we dance. That is why we sing. Singing comes from the heart.
Cuba is my energy. Love Salsa! tj

Taking the Higher Road

The expectation for expansion in cities has grown as the construction of skyscrapers and roads have increased. Currently, roads in developed urban environments have two options: go underground or cut through areas above ground. There’s already an underground freeway in this particular area. So the new “road” had to be built above the established one in an intricate serpentine pattern. This photograph captures a small part of the urban scenery that discovers new and unpredictable architectural aesthetics. tj

Photographer Hiroyuki Suzuki

“Tool” for “Needs”

Photographer Hiroyuki Suzuki

Scenes Beyond our Imagination

A photograph enables us to permanently own the scenery or subject we see in the viewfinder by capturing what is right in front of us with a camera. Sometimes, it creates an unusual space beyond our imagination.

Of course, it is nothing more than coincidence when one encounters an exciting subject and a satisfactory shot is only possible when all the conditions are perfect. A photo shoot might be a journey to find a lucky coincidence.

Observing and Depicting the World with a Zen Mind

LOOKING over his collection of photos and prints that were exhibited at the “Tokyo” photography exhibition at the Shanghai Art Museum, most of Suzuki’s work focuses on large-scale ongoing construction projects in big cities. The lighting gives his subjects an imposing, dignified presence and a somewhat solemn appearance. These images convey a rich sense of structure and a gloomy, downcast mood, using an overwhelmingly black-andwhite palette. Amid this jumble infrastructure, however, Suzuki presents us with a simple vision. His critical, philosophizing eye exudes a certain aura that stares down the urban clamor of the city and lurches across the frame at the viewer – something that prompted me quite naturally to think of the gaze that often crops up in our conversations. Suzuki is an artist who has an excellent eye. This facility almost certainly owes itself to his long-standing collaborations with Junko Koshino, as well as his keen interest in the humanities, the great issues that confront society today, and the teachings of Eastern philosophy.

Moments in Construction

by H. Suzuki

TJ: What aspects of photography do you like the most and the least?
SUZUKI: The most – it mirrors the creator. The least: it mirrors the creator. What I like the most is it reflects the thoughts of the photographer. On the other hand, what I like the least is it reflects the thoughts of the creator, despite his or her intention.

Moments in Construction

by H. Suzuki

TJ: Can you describe the process of taking photographs at a construction site?
SUZUKI: Shooting in monochrome is an expression by a single color consisting of light and shadow or white and black. The subject is achromatized and the composition of the picture is decided based on white (light) and black (shadow). The light and angle of the Sun, which is the origin of light, is one of the most important elements. Therefore, the time of the shoot and the weather are critical.

TJ: What are the biggest lessons you have learned about photography since you started?
SUZUKI: I try to find the perfect date and time for ideal light. However, sometimes I can achieve more in unexpected circumstances. Therefore, I have learned that I should be proud of myself for behaving casually.

TJ: 建設現場での写真撮影について説明してい ただけますか?
ス ズキ : モノクロームの撮影は光と影、白から 黒への一色表現です。撮影する被写体の色を消 すことは白い色は光、黒い色は影から一枚の絵 の構図を決めるということ。光の発信源である 太陽の光と角度は最重要項目ですね。だから撮 影の時間の決定と天候がポイント。

TJ: 写真撮影で学んだ一番大きな教訓は?
スズキ : 自分の決めた日程と時間に思いどおり の光が指すかどうか? しかし、想定してない 状況から想定以上の収穫があるので思いついた 自分に正直に行動をとる自分に自信をというこ とが学びです。

Moments in Construction

by H. Suzuki

TJ: What makes a good picture stand out from an average photo?
Suzuki: A good picture moves viewers. Good pictures extract the intention of objects and invoke the feelings of viewers. In other words, a dialogue between objects and viewers is enabled.

TJ: Location and weather conditions seem to be crucial aspects to a successful picture. How do you handle these unpredictable factors?
Suzuki: I can’t control them, so it can’t be helped. But I think I am lucky in terms of unpredictable factors. For four years, I had a lot of luck. For example, I took a picture of 2,000 people gathered at a morning meeting in a construction area. Although such meetings were planned to be held regularly after that, they didn’t happen again. I need to rely on luck and instinct.

TJ: 優れた写真と普通の写真を隔てるものは何 でしょうか。
スズキ: 迫ってくるものがあるかないかの違い ですね。被写体の意図を引き出し、見る人の共 感を呼ぶ。つまり被写体と見る人の対話を可能 にするのが優れた写真でしょう。

TJ: ロケ―ションや天候は写真の成否に重要な 影響を与えると思われますが、こうした予測不 可能な要因にどのように対応なさっています か?
スズキ: これはどうしようもないことです。で も、この4年間の経験を考えると、僕はツイて いたと思います。たとえば、ある工事現場で 2000 人が集まった朝礼の写真を撮りました。 その後もこの朝礼は定期的に開かれるはずでし たが、結局 2000 人もの人が集まることは二度 とありませんでした。運と直感は大事だと思い ます。

Hiroyuki Suzuki's camera lens has taken him to construction sites around the world in an ambition to capture the instability, energy, beauty and hope – he sees as intrinsic within these sites.

Hiroyuki Suzuki

TJ: How and why did you get interested in this style of photography?
Suzuki: I shoot pictures of buildings, not people. However, my pictures can tell people there was a process that went into the history of a building, and there were people involved in the development and timeline of the building. Although very few of my pictures have people in them, it is my hope that people, who look at my pictures, see that people were involved in the creation of that building or thing.

My sensitivity is very sharp for seeing a picture perfect moment and I can see when 1 +1 = 3 very quickly. In 2006, I instantly captured the moment for a striking picture of a bridge being built where the opposite sides were created, but the middle joining piece was missing. I like to photograph very unusual or shocking moments like that. It’s like making a documentary movie and I feel like I’m like a war journalist. For example, if I see a bridge being built while driving to work in the morning, I know it might look very different when I go back home at night, so I have to quickly react to photograph it as soon as possible.

建築の瞬間

TJ: この撮影スタイルにこだわるようになった いきさつは？
スズキ: 私は人でなく建物の写真を撮ります。 でも私の写真は、建物の歴史を物語る移り変わ りがあり、建物の発展と来歴に関わった人たち がいたことを、見る人に語りかけることができ ます。私の写真に人間が写りこむことはほとん どないのですが、わずかな例外の場合も、その 建物やモノの創造に関わった人であることを感 じてもらえればと思います。

写真についての完璧な瞬間に対する私の感性は 非常に鋭く、1+1 が3 になる瞬間を即座に見 極めることができます。2006 年には、建設中 の橋の決定的瞬間をとらえました。両側が作 られていて中央の結合部分が欠けた格好の橋で した。私は、そうした普通でない、あるいは衝 撃的な瞬間を撮影したいのです。ドキュメンタ リー映画の制作に通じるところもあり、従軍 ジャーナリストのような気がしています。たと えば、朝の通勤途中に建設中の橋を見かけたと します。夜、家に帰る頃には全く違う光景に