Chapter３：スタイルの構築と他者からの存在認知1996年 -
- MAL
- 7 日前
- 読了時間: 2分
これまで心の外在化という、ある意味「表出」に近いところで自由にシャッターを切っていた私が、商業フォトグラファーとしての立ち位置を考えた時、進むべき方向を見失いました。
商業ベースに乗せるには、「表出」から「表現」へ変えなければならない。
そんな時に依頼された舞踏家やダンサーの撮影は、フォトグラファーとしてのスタイルを構築する大きなヒントとなり、「静」と「動」という二つのテイストを個性として未来へ繋げることができました。
この辺りから私の存在認知は、自分自身を対象とした段階から、他者からの存在認知も意識する段階へと移行していくことになります。
Chapter 3: Building a Style and Receiving Recognition from Others
1996 –
Until then, photography had been a way of externalizing my inner world.
I photographed freely, driven by something close to pure expression rather than intention.
But when I began to consider my future as a professional photographer, I found myself losing sight of the direction I should take.
To work within a commercial context, I felt that I needed to move beyond simply expressing myself.
I needed to transform expression into communication.
At that time, I was given the opportunity to photograph dancers and performers.
Those assignments became an important turning point.
Through them, I discovered two visual qualities that would eventually become central to my work:
Stillness and Movement.
These two elements helped me establish my own photographic style and became a foundation that would support my work for years to come.
Around this period, my sense of existence recognition also began to change.
Until then, it had largely been a process of recognizing myself through photography.
Gradually, however, I became aware of another dimension:
The recognition that comes from others.
Through my work, I began to understand that photography creates a space where people acknowledge one another’s existence.
This realization would become an important step toward the work I create today.
I know that you are here.
Portrait of Kazuo Ohno
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