1) Who inspired you to take up photography?
2) Can you tell us how you started as a photographer and how you developed?
I was very fortunate to have the opportunity to learn dark room techniques from my friend there. Later I worked with a journalist taking predominantly colour pictures of pop musicians for Japanese magazines. Once again it wasn't much of a money earner but it was good practice for me. The live concert shoots were fun as there was always enough light to work with. I'd always wanted to take portraits which had a sense of time and inner luminosity, like stills from a movie, only in life. Meeting David presented me with a wonderful opportunity. He not only has beautiful features, but he project a strong presence. He's been my subject ever since we met. His life and work are one which inspires me greatly. He has deep insight or vision which isn't easily compromised. In order to achieve his goal he isn't afraid to throw away work that he's created. I respect him very much as an artist. I've learned a lot from him.
For me, one of the advantages to living in England has been to learn to eliminate sentimentality which often interferes with judgment or the profundity/depth of feeling. I love watching documentary film. I find the quality of the work on British TV superb. In contrast Japanese TV generally tends to over sentimentalise, to crudely manipulate the emotional response of the viewer (having said that there are many good programs produced in my home country). Music is nourishment for my daily life. I need it to survive, and also to continue my work.
A book entitled "November Girl" by Sam Haskins. The film "un homme et une femme" by Claude Lelouch.
My love and interest in British Jazz led to taking photographs of musicians in performance in the 70's. Generally the lighting in small jazz clubs is poor and the conditions limited. But I very much enjoyed the work although I rarely earned money from it. Around that time I met a group of photographers who were working on one particular project. One of my friends became a member of the group. They lived and worked together in a big warehouse near London Bridge. To see their work and occasionally spend time with the group was a great experience and a pleasure. They are all fantastic photographers in the field of documentary photography.
3) Which photographers & artists do you admire and why?
The CD cover photograph for "Approaching Silence" is a striking image. A Tibetan monk standing in a primitive kitchen. His head erased by the light from the heavens.
It is a shame that none of his books are translated into English as of yet.
I was lucky to have the chance to work with the above mentioned photographers via David's projects. I also had the chance to work with contemporary artists and designers I admire such as Russell Mills, Ian Walton, Vaughan Oliver & Chris Bigg. I'm proud we had a chance to introduce them to the Japanese public by organising exhibitions of their original and influential work.
4) Have you a favorite piece of yours? One work that you feels stands out?
I like the photograph entitled "Translucent I" which is a portrait of David in grey on white. I like this print because it's close to one of the ways I see things in life. I also like the still life picture entitled "Metamorphosis", which is a photograph of a dried flower in the bottle. And of course
Plight and Premonition.
5) PLIGHT & PREMONITION is a great favorite with fans. Can you tell us how it came about?
I took this picture in the grounds of the Chateau Miraval (a recording studio at the time) in the South of France. It was a beautiful place. There were grass fields and a small lake, woods and streams.... I took a few objects with me on location, the antique lace scarf was one of them. For me this delicate light material represents something invisible. One quiet afternoon I spent time by a small stream. I found a log and started taking pictures of it with the lace scarf (I've kept it even though it was worn to tatters after the photo session). I enjoyed the contrast between the materials....the final image evokes for me the world of the spirit and of memory
6) Mt. Blanc Chamonix is a stunning photograph. Can you tell us more about it?
When we arrived at Mt. Blanc we had only 15 minutes before the last cable card departed so I snapped some shots as quick as I could. The perpetual snow on the mountain was so beautiful.
I had a similar experience when we went to the place called Nagarkot in Nepal. It took a long time to get there from Katmandu City via the mountain road which seemed very dangerous particularly with the antique, rather shabby taxi in which we were being transported. We reached the top of the mountain where we could see the Himalayas. The driver told us we couldn't stay long as we have to return before it got dark (otherwise no guarantees for our safety). We had more than 15 minutes to work with at that time. The view of the Himalayas was breath taking. I like the photo I took there: "David with Himalayas in the distance".
7) With THE HEALING PLACE, you worked with colour. Do you use colour often in your work?
It is a Blue toned B&W picture. 'Silver moon', which we used in the postcard set, was in colour (Triple exposure). This is one of few colour prints I made by myself. Inside the booklet of 'Plight & Premonition' is also a colour print I made. Many years ago AGFA made a paper with which you could make a colour print from the transparency. They've stopped producing it now. I used to use colour transparencies, but I've been using colour negatives lately. I am learning to use Photoshop so as to manipulate images which will be useful for colour photos, as well as B&W. I've just started. There's a long way to go.
8) What are your plans as an artist in the near future?
I would like to publish a book of my past work in near future. It's been a long held ambition to do so. I'm currently gathering the material and deciding upon the art direction.
Click Here to Visit our Sponsor
Yuka Fujii Gallery