Tadashi Onishi: Capturing Tokyo’s Vibrant Nightlife
Today, we uncover the layers of 'Shinjuku Inco,' by Tadashi Onishi . We'd love to read your comments below about these insights and ideas behind the artist's work.
When I initially saw the photography of Tadashi Onishi, I was impressed. I wished I could take photos like that. Yet, in the back of my mind, I couldn’t shake the feeling that this was just another photographer trying to shoot like Daido Moriyama. Perhaps due to my ignorance and not knowing Japanese photography as well as American or European photography, I could not have been more wrong. It is probably akin to calling every black and white landscape photo with dramatic lighting and shadows a clone of Ansel Adams.
The photography of Tadashi Onishi is something else. His slow shutter speed and blurry style have a purpose: to communicate emotions, feelings, and the atmosphere. I was ashamed I jumped to such a silly conclusion. Yet in my defense, it is not uncommon to see photos with a similar style on Instagram, but they are often very disconnected from the subject they are capturing. It doesn’t help the picture; it doesn’t add any meaning. Just like when you use a retro preset. It doesn’t make the picture timeless or dated without the proper combination with the subject, overall theme, mood, situation—you know what I mean. Every time I do an interview like this or edit an essay, I learn something new. Today, I learned I still have a lot to learn about judging someone’s pictures, and I am really happy I discovered the amazing photography of Tadakashi Onishi.
- Martin (Editor)
First of all, I am not a professional photographer, but rather a “Serious Photographer” who captures the surroundings of my daily life. Most of the photos I present are perceived as Street Photography, but in reality, everything in front of my eyes from the time I wake up until I go to bed, from inside the house to the streets, becomes the subject.
In my usual photography style, I strive to take pictures without including my own intentions as much as possible, without setting a theme (the act of continuously taking photos itself is the theme, so I do not set a Visual/Story theme), and without choosing conditions such as composition, timing, or light.
In early 2022, I met a Contemporary dancer named Shimba, and together with him and a filmmaker named Yanata, the three of us performed street performances (YouTube video). In these performances, I played the role of “the eye,” and performed the act of “seeing” together with Shimba, who was dancing. Although I had a camera in my hand, the main focus was on seeing. Specifically, I set the camera to shoot at night, and without looking through the viewfinder or monitor, I periodically pressed the shutter. In other words, it could simply be a record of the scene, but the photos taken without knowing the composition or what was captured were left behind. However, later, I felt that the photos captured the enthusiasm, thoughts, emotions, psychological distance, and atmosphere of the scene during the performance, which was wonderful. Although it was the same in the sense that it was not the photos I took but the photos that were taken, I felt it was a new style of photography for me.
Finally, we get to the story of Shinjuku Inco. In the summer of 2022, Yanata asked me to take still photos for his independent film. The film stars a pole dancer and a photographer. Basically, I do not take on commissioned work, nor have I taken portraits of women. Moreover, I had never seen pole dancing in person. However, since it was a request from a friend, I decided to take it on.
In the fall, we had a preliminary meeting at the nightclub where the still photography would take place. Yanata introduced me to Allie, who was sitting at the edge of the stage smoking a cigarette. The first thing Allie said when she glanced back at me was, “Photographing pole dancing is difficult if you’re not someone who photographs pole dancing or women.” As I was unfamiliar with both, I was taken aback.
After the meeting, I walked with Allie to the station, talking along the way. I was drawn to her sincere and passionate feelings toward pole dancing and her strong desire to expand it as a culture. At that moment, I realized that taking superficial photos of a pole dancer, dynamic and erotic, as a woman during the actual shoot would be meaningless. I needed to photograph Allie as a human being. This led me to choose the same shooting method I had used when I danced with Shimba. (I’ll skip the boring details of camera settings.)
I researched Allie and the culture of pole dancing beforehand. At the same time, I tried to avoid looking at videos or photos of pole dancing as much as possible. I didn’t want my desire to understand her and capture her essence to be influenced by other people’s visual works.
On the evening of the shoot, Allie, who had been dancing for the film since the morning, seemed a little tired. Her manager told me that she could only dance one or two times for the photo shoot due to her physical condition (she ended up dancing for about seven minutes in total). I was a bit nervous, but I was drawn in by Allie’s confident appearance as she stood on the stage. Without any signal, Allie began to dance smoothly, and I started pressing the shutter while heading towards the stage. From my desire to become one with Allie in spirit, I didn’t want to look through the viewfinder, so like with Shimba, I focused solely on seeing with my eyes. Of course, since it was a job, I was pressing the shutter during that time, but there were moments when my face moved forward more than the camera.
During the shoot, naturally, we only occasionally made eye contact and didn’t exchange words, as we were both seriously engaged in the performance. After it was over, I was out of breath and drenched in sweat.
I believe that these photos convey Allie’s strength and kindness, her strong determination to live, our connection, and the enthusiasm of the scene. Unfortunately, they are insufficient to convey her beauty or sexiness, but these are the photos I wanted to take with her. In the end, the film director also liked the photos because they aligned with the story of the film and used them effectively within the movie.
Monochromatic Vision: Your choice to present "Shinjuku Inco" in black and white adds a dramatic layer to the narrative. Can you discuss how this aesthetic choice enhances the storytelling of your series?
In the film, the photos are presented in black and white to represent the past (a temporal death) in contrast to the colored video parts (the present). Allie’s strong presence paradoxically appears as a “yearning for life” within the monochrome, enhancing her presence even more, which I find appealing.
Challenges and Overcoming Them: What have been some of the most challenging aspects of photographing in the dynamic environments of Tokyo’s nightlife and performance scenes? How have you overcome these challenges?
I think understanding and recognizing the culture is the most important and difficult part for me. Through these challenges, I actually feel the culture as my own. Then I can photograph the culture authentically. Without understanding the subject, I just create a poor photo, even if it looks good visually.
Personal Reflection: How do you personally reflect on your work? Are there particular pieces that hold significant meaning to you, and why?
As for Shinjuku Inco, I think it was a great experience for me. Again, I had never taken a photograph this way until I worked with Shimba. So, this series has enriched my photographic journey.
Future Projects: After “Shinjuku Inco,” do you see yourself further exploring the themes of performance and urban subculture? What’s next for you creatively?
After Shimba and Allie, I have been photographing a contemporary dancer suffering from a skin disease, Wuma/Ayako, and a wheelchair dancer, Kenta Kambara, using the same method (performing together). I am interested in connecting with the inner essence of the person during the performance, rather than superficial symbols. I am not interested in visual strength but want to continue taking photos that express the psychological distance between me and the subject.
Additionally, I want to continue the street photography exhibition project that I started in 2018, ROZOU PROJECT. Currently, there are more collaborators around the world, including several places in Ukraine, Hong Kong, Tokyo, Helsinki, Kuala Lumpur, Sydney, and London, who are engaged in the same activities. I want to make it a project that can be enjoyed more widely.
Tadashi Onishi - 大西正
Born in 1973 in Tokyo, Japan, Tadashi Onishi is a renowned photographer who captures the intersection of street and documentary photography. His work focuses on the vibrancy of urban life and the social narratives embedded within it. Onishi’s unique approach involves photographing everything from the mundane to the extraordinary, reflecting the dynamic essence of Tokyo’s streets and its subcultures. Onishi is the founder of the ROZOU PROJECT, an ongoing street photography exhibition that has expanded globally, with participants in cities like Tokyo, Helsinki, Kuala Lumpur, Sydney, and London. He is also a member of “VoidTokyo” and the “Stoneage crew,” contributing to the collective exploration of contemporary urban landscapes.
In his career, Onishi has collaborated with various performers, including contemporary dancers and pole dancers, using his camera to delve deeper into their stories and expressions. His projects like “Shinjuku Inco” showcase his ability to blend the expressive art of performance with the bustling energy of Tokyo’s nightlife, often presented in dramatic black and white to emphasize temporal contrasts and emotional depth. Onishi’s work transcends mere visual representation, aiming to capture the psychological distance and connections between himself and his subjects. His dedication to exploring the transient and ephemeral moments of daily life has made his photography a profound commentary on modern society. (Website, Instagram)
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