Welcome to this edition of [book spotlight]. Today, we uncover the layers of 'TO:KY:OO,' by Liam Wong . We'd love to read your comments below about these insights and ideas behind the artist's work.

“As a street photographer, you observe what is in front of you (content), and compose yourself around that scene (composition), I am a graphic designer and so I just always imagine lines and grids when I shoot. “

In the heart of Tokyo's enigmatic nightscape, Scottish-born visionary Liam Wong found his calling in a serendipitous blend of unforeseen events and a passion for visual storytelling. What started as a vacation armed with a newly purchased DSLR morphed into a defining journey for Wong, capturing the city's nocturnal allure through his lens. "I never planned to become a photographer," Wong shares, recounting the pivotal moment a single rain-drenched photograph of a taxi driver captured not only the essence of Tokyo after dark but also the imaginations of viewers worldwide. This photograph marked the beginning of 'TO:KY:OO', a series that transcends traditional photography to narrate the vibrant, neon-lit life of Tokyo at night.

Beyond the luminous allure of Tokyo, Wong's unique background as Ubisoft's youngest director in Canada and a self-taught photographer weaves a fascinating tapestry of skills and perspectives into his work. His approach, heavily influenced by his video game design and direction experience, shatters conventional photography barriers. Wong elaborates on his creative process, "With photography, there is a lot of gatekeeping... As a game art director, I often think about world-building," a principle that has distinctly shaped the narrative and ambiance captured in the 'TO:KY:OO' series. This fusion of video game-inspired aesthetics with nocturnal street photography offers readers a glimpse into Wong's innovative narrative technique, one that compellingly invites them into the vibrant, surreal world he captures through his lens.

Genesis of "TO:KY:OO": Before we delve into the specifics, could you share with us the initial spark or moment that led to the genesis of "TO:KY:OO"?
What was it about Tokyo at night that compelled you to embark on this project?

I never planned to become a photographer, but I recall the moment I knew I wanted to become one. It began with a trip to Tokyo which I had saved both my money and vacations for. Ahead of the trip I bought a DSLR and for one month I was capturing Tokyo, very much as a tourist. My goal was to film things and as I began sharing my holiday photographs on my personal Facebook account, my close friends began to take interest, especially with my night photography and one photograph in particular seemed to strike a chord, it was of a taxi driver in the rain. Ever since that photo, I've been capturing Tokyo at night.

Visual Storytelling and Video Game Influence: Your unique background in video game design and direction has undoubtedly shaped your visual storytelling. How has this experience influenced the narrative you've crafted through the images in "TO:KY:OO"?

With photography, there is a lot of gatekeeping - everything must be AS IS and nothing can look anything "but straight out of camera". As a game art director, I often think about world building and the details that make up a city, how each city has a different vibe which is often dictated by its architecture and layout. More than that, coming from a game background enabled me to not worry too much about capturing only what is in front of me, but channeling something of my own through the work.

Color Composition in Night Photography: Your work is celebrated for its vibrant use of color, especially in capturing the nocturnal beauty of Tokyo. Can you discuss your approach to color composition and how it plays a role in conveying the mood and atmosphere of the city at night?

These days, I think that a “good” photo should work well in black and white. In video game development we have a phrase called the 3 C’s: “Character, controls, camera”, as each component is interconnected to deliver the experience. With photography, I have my own set of 3 C’s: “Content, composition and color”. As a street photographer, you observe what is in front of you (content), and compose yourself around that scene (composition), I am a graphic designer and so I just always imagine lines and grids when I shoot. The content itself is key, and in my opinion what you leave out of the frame is just as important as what is in it, something I heard Sir Roger Deakins say one time and it always stuck with me. Like him, I often capture silhouettes, I like the anonymity of it, yet I am always very selective of what exists within my frame (content). Lighting is important and on the streets at night, working with artificial lighting and finding the angles is key. Color then acts as the 'finisher' for me, where I think about channeling the mood through basic color theory, amplifying, balancing or subtracting colors. When you combine all three, that's where the image presents itself.

Challenges of Night Photography: Night photography comes with its own set of challenges, from low light conditions to capturing moving subjects. What were some of the challenges you faced while shooting for "TO:KY:OO," and how did you overcome them?

When I look back at my earlier works, there are a lot of errors in the images and admittedly I could take a poor shot and Photoshop my way out of it. The challenge to overcome was simply getting good at the camera itself. The technical aspects of photography are difficult to master and there is no shortcut other than practicing different techniques. Therefore, I would spend nights trying different approaches and mimicking images I would find online, or from my favourite photographers. Composition, texture and depth from Saul Leiter, the verticality of Fan Ho or the rhythm of Christopher Doyle. It was a lot of trial and error, but I feel if you compare the works in both of my books, you can see the progression at mastering low light photography.

Inspirations from Sci-fi and Cyberpunk: "TO:KY:OO" is deeply inspired by sci-fi, neon-noir, cyberpunk, and Japanese animation. Can you talk about how these genres influenced your photographic style and the thematic choices in the book?

As an art director, my main focus was directing and defining the style of a game and to make it memorable and identifiable in a saturated market. I took this experience with an aim to replicate my day job, into my new hobby: photography. With photography, to develop your own style you must also dissect every component or element which makes up the works that you are influenced by. Once you have those references, you're able to find the smaller parts and aim to recreate whatever it is within them. That's basically what I did. From a pure visual standpoint, anyone with a vague interest in any one of my references could feel it portrayed in the work.

Crowdfunding and Community Support: "TO:KY:OO" became the largest crowdfunded book in the UK. What was your experience with the crowdfunding process, and how has the community's support impacted your approach to photography and publishing?

When I released TO:KY:OO, I was looking for a way to launch myself into full-time freelance. As such, I put everything into my books to make it A) worth your money and B) different from your typical photograph books. When I reached out to publishers, the traditional publishing route meant it would take 1-2 years if I was accepted into their annual release. I wanted to put out a book sooner than that, and so crowdfunding became my primary route.

The support I received was incredible and I’ll always be truly grateful for everyone who supported my works. It led to many amazing projects and connections. Overall, the crowdfunding process was a huge success, and my second book AFTER DARK surpassed the record set by TO:KY:OO.

There are many things I learned, from marketing, to design and building a community around my work. As far as photography, it's very nice to draw a line under a body of work and move past it after creating a physical product... it's quite, cathartic? Even if I just look back and see bad images, I know that I can only improve on the next body of work.

Equipment and Techniques: You started your journey into photography with a Canon 5D III. How did your choice of equipment and techniques evolve throughout the project? Are there any specific tools or settings you found indispensable for capturing Tokyo's nightlife?

These days I don’t say too much about my equipment, as it implies you need MY gear to achieve the results. Having shot with many other photographers and seeing how they work versus how I approach night photography - I’d say my biggest tip is manual focus, working on shooting at a low shutter speed with no support (tripod etc) and shooting AUTO ISO yet capping your ISO to a maximum number then using your EV wheel for exposure between those two values. Another less obvious one, is the amount I have invested in rainproofing my setup from head to toe.

Reflections on Tokyo's Ethereal Beauty: Having spent extensive time capturing Tokyo at night, what are your reflections on the city's ethereal beauty and its contrast with the daytime hustle? How has this experience influenced your understanding of urban landscapes?

When I first started shooting pictures in Tokyo, I was a tourist. These days I live here permanently, in the past year I found myself shooting way more day time photography, however I’m drawn more towards the older, quieter parts of Tokyo rather than my older haunts like Shinjuku. There are so many unseen parts of Tokyo even for me, and I have walked a lot of it. I always find something new and interesting on my wanderings.

Advice for Aspiring Photographers: For those inspired by "TO:KY:OO" and interested in exploring urban night photography, what advice would you give regarding finding their own unique perspective and style?

I feel I always have to preface night photography with: always focus on your own safety first and foremost. Night photography is cool but it’s not worth putting yourself in danger for. Regarding style, expand your influences and never focus solely on imitating one photographer. You are unique, and to find your voice means understanding yourself and what you take influence from. For me, video games played a huge part in that, but it’s one of several areas.

Other than that, pick a single lens, don't get too caught up on gear and when in doubt get a 'nifty fifty' and don't buy presets. Take time to find other photographers to shoot with and grow together. Watching another photographer stop and take a shot which you didn't see is actually very insightful. What did they see that you didn't? Is it even interesting to you? If you both took the same picture, how did you each frame it? These are huge learnings that will help you understand your own take on the world through your lens.

Future Directions: With "TO:KY:OO" capturing the imaginations of many, do you have plans for similar projects in the future? Are there other cities or themes you're interested in exploring through your photography?

Absolutely. With each series or book, I feel myself improving behind the camera and finding new ways to express myself through my lens. Whilst I love photography and will continue to capture still images, cinematography and directing are next on my list and I’ve been working on some unannounced film and photography projects for a while as well as video games. After the years we spent in the pandemic, I’d like to capture more of the human side of things and get closer to subjects to feel less disconnected. I'll continue to capture Japan however Hong Kong, Paris, New York, Seoul, Chongqing and Shanghai to name a few, are places I'd like to spend longer periods of time in, especially now that I have improved a little.

To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here.

Liam Wong (website, Instagram, Twitter) is a Scottish-born director, game designer, and self-taught photographer, recognized for his visual storytelling and listed in Forbes 30 Under 30. Initially Ubisoft's youngest director in Canada, he shifted focus to photography, capturing Tokyo's nightlife in his viral series 'Tokyo Nights (TO:KY:OO)'. His works led to high-profile collaborations and two successful crowdfunded books, with 'TO:KY:OO' becoming the UK's largest crowdfunded photo book. Currently freelance, Wong is engaged in various projects across film, photography, and video games, while continuing to share his expertise as a public speaker globally.

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