Prior to going on the Basho and the Kumano Kodo pilgrim walks I decided to spend some time in the early morning walking the streets in Japan (initially the lively lanes in Shinjuku, Tokyo, then Morioka and Sendai) to make photographs. This was one way to cross the cultural barriers. A photographic layer of this photographic walking was using an old Leica M4 rangefinder and black and white film (Kodak Tmax 400) to supplement the much more versatile digital Sony A7R 111 camera. This connection to modernity’s technologically archaic past helped me to feel at “home” in the global mega city whilst avoiding being the free-floating, postmodern tourist.
I wanted to connect to, or link up with, the postwar Japanese black and white film street photography in the late twentieth century: — eg., Shōmei Tōmatsu, Daido Moriyama and Takuma Nakahira — with its candid, spontaneous sunappu images that was broadened by Ishiuchi Miyako and Takeda Hana, and continued with Yasuhisa Toyohara and Ohnishi Mitsugu in the 1980s. My images are a very marginal relationship to this tradition. The classic practitioners, such as Daido Moriyama, and Shōmei Tōmatsu lived in Shinjuku, viewed photography as a way of life, saw themselves either as vagabonds wandering the city streets aimlessly or as stray dogs hunting in the dark alleys of Shinjuku,and produced the short-lived left-wing magazine Provoke (1968–1969).
Though photography has a long historical connection to the city I was only a tourist staying in Shinjuku for 5 days aimlessly wandering amongst its maze of obscure lanes, bars and eating places.
