Tatsuo Suzuki's Tokyo Street Photography: Style, Collective Work, and the Fujifilm Controversy

Developing Tank

Introduction [0:00]

The video introduces Tatsuo Suzuki, a Tokyo street photographer whose work, described as "friction and frustration," prompts viewers to reconsider modern street photography. His high-contrast, black and white images connect him to a lineage of influential photographers like Daido Moriyama. Suzuki has also founded his own collective, VoidTokyo, and navigated a significant controversy involving Fujifilm, yet continues to produce distinctive work.

Who is Tatsuo Suzuki? [1:12]

Tatsuo Suzuki, born in Tokyo, began photographing the city and surrounding areas in 2008.

• He describes feeling "floating on the streets" despite living there.
• Transitioned from a law background to photography as a hobby with the advent of practical DSLRs.
• His career began serendipitously after a candid shot of a seller, realizing his desire to capture such moments.
• Signature Style: Characterized by an "in-your-face" approach, always black and white, and driven by raw emotion, aiming for a harmony between chaos and serenity.
  • He believes his style expresses his feelings and should speak more than words.
  • Black and white essentiality is crucial for conveying deep emotions and stimulating imagination.

    

    

Friction/Tokyo Street [2:23]

Released in 2020, "Friction/Tokyo Street" is Suzuki's most celebrated work to date.

• Artistic Intent: Suzuki aims to express the inherent tension, frustration, and atmosphere of the city through his own eyes.
  • He captures mundane aspects of daily life with a strong personal voice across 150 images.
• Acclaim and Influence:
  • The limited-run book is highly sought after, selling for roughly 10 times its original price.
  • Influenced by Robert Frank's "The Americans," showcasing Tokyo in a similarly fluid, haphazard visual style.
  • Bears influence from Daido Moriyama and William Klein, whom Suzuki cites as major impacts.
  • Won the prestigious Steidl Book Award Japan, established in 2016.
• Creative Process: Suzuki emphasizes spontaneity and intuition, allowing him to encounter "special scenes" by following his feelings while walking through Tokyo.
  • He considers the "hustle, noise, tension, loneliness" of the city, alongside inherent beauty.
  • The book primarily features close-ups of people, reflecting his draw to emotions.
  • His 25 years as a salesman informed his photography, seeing his own repressed emotions mirrored in the exhausted faces on Tokyo streets.
  • He states that his work captures the intersection of his environment, emotions, and upbringing with Tokyo's bustling atmosphere, which creates a sense of tension.

    

    

Tokyo Street Zines [4:33]

Tatsuo Suzuki has published six zines titled "Tokyo Street," with issue 6 being the final installment.

• Content and Format: Each issue includes a set of small prints and a poster, featuring an image on one side and Suzuki's reflections on the other.
• Issue 1 - Music and Shibuya:
  • Music and Shibuya are primary influences.
  • Shibuya's record stores and music venues highlight the connection between street culture and location.
  • He connects to the rock subgenre "beatrock," which he feels expresses the alienation in the city through the "bustle, irritation, and nervousness of passengers and pedestrians."
  • Initial ambitions were a monthly zine and more street portraits.
• Issue 2 - Dreams and Resonance:
  • Features a reflection from a fellow photographer on the difficulty of fulfilling dreams in Tokyo.
  • Suzuki's work stands out by accomplishing his dream, resonating due to three factors: being set in Tokyo, conveying the present moment, and connecting with people.
• Issue 3 - Photography and Music Parallel:
  • Suzuki draws a further connection between photography and music, citing punk rock, New Wave, beatrock, free jazz, blues, garage rock, dub, and pop as influences.
  • The emotions conveyed in these genres are similar to those in his photos.
  • Key difference: Photography can manipulate time and sequence images in ways music cannot.
  • He argues that the photographer's personality and their photos are inseparable, much like music shapes identity.
• Issues 4 & 5: Reflections from these issues will be discussed in the Fujifilm Controversy section.
• Issue 6 - "Ending is Beginning": The final issue's subtitle suggests new projects. The zine series was initially intended as a year-long project, extended due to the pandemic.

  

  

VoidTokyo [7:57]

VoidTokyo, a photography collective, was founded by Tatsuo Suzuki in 2017 and has released eight zines.

• Mission and Impact:
  • Aims to explore "what kind of world do we live in now" through collective photographic work.
  • Had a gallery showing in Ginza in summer 2023, titled "Sharaku," which Suzuki suggests relates to sharing images from multiple perspectives.
• Objective: To transition photographers who mainly exist online into publishing printed versions of their work, including multiple photographers' work in each zine.
• Selection Criteria: Suzuki approached photographers interested in his work who were active online but lacked opportunities for exhibitions or photo book publications.
• Philosophy: To collectively photograph Tokyo and preserve these images on paper, countering the ephemeral nature of online content.
• Membership and Style:
  • Composed of 11 members, mostly photographing in black and white.
  • Each photographer employs a distinct style to capture different aspects of Tokyo (architecture, people, textures, abstract elements).
  • The overarching subject for the entire group's work is Tokyo itself, viewed from their diverse perspectives as the city undergoes constant change.

    

    

FujiFilm Controversy [10:07]

Tatsuo Suzuki faced significant backlash and was "cancelled" by some after a Fujifilm ad campaign promoting him and the X100V camera.

• The Incident: Viewers were shocked by his "abrasive" shooting conduct in the video, leading to its deletion within half a day and Fujifilm dropping him as a brand ambassador.
• Suzuki's Prior Stance on Ethics:
  • Emphasized paying "utmost attention" to ensure subjects are not demeaned.
  • Photographs with an "open posture" to make it clear he's shooting.
  • Excludes images if subjects appear uncomfortable or avoid the camera, even if already shot.
  • Removes photos that might "work against" a subject, with rare exceptions.
  • Acknowledges his decisions are subjective but always strives to photograph with respect.
• Changes in Technique Post-Controversy:
  • During the pandemic, he maintained distance and lost interest in the "abrasive" style.
  • After "Friction/Tokyo Street," he felt he had exhausted that style and wanted to expand his expression, avoiding "unnecessary self-replication."
• Perspectives from Supporters:
  • Lino (Samuel Streetlife): While his approach might look aggressive, Suzuki is considerate, apologizes for discomfort, and is aware of consequences.
  • Ulys Zoki: The controversial video showed only a portion of his shooting style; other footage shows him smiling and interacting. The incident made candid photographers rethink ethics and their relationship with society and companies.
• Kenji Takazawa's Reflection (Tokyo Street Zine Issue 5):
  • A single photo can be taken out of context. A large body of work provides enough information to determine if a subject is portrayed artistically or negatively.
  • Street photography becomes art when the photographer takes full liability for their expression.
  • Suzuki blurs the lines between reality and fiction by mixing street snaps with model photographs, challenging the myth of "unconscious expression" and addressing "snap-phobia."
• Suzuki's Own Account (Tokyo Street Zine Issue 4):
  • His excitement over being the only Japanese photographer selected for the Fujifilm video made him more aggressive than usual.
  • He considered the negative outcome "inevitable."
  • Since the incident, he continues to shoot, has received no complaints, and maintains his ethical selection process by not developing or selecting uncomfortable/unethical photos.
  • He contemplates deeply on "ambivalent" photos, taking full responsibility for chosen images.
  • He briefly stopped shooting due to the situation but affirms that "continuing to shoot is my life." He remains committed to finding respectful ways to express his subjects through street photography.
• Conclusion: While debate exists, Suzuki's statements and testimonials suggest no malicious intent. The situation offers a lesson for photographers to care for subjects as much as the photographs themselves, and to portray people artistically.