Any year that I get to go to Japan once is a great year. Any year that brings me back to Japan three times is the stuff of dreams. My work with Kinfolk magazine brought me here in February and then again in June. Now, though, I’m here on my own steam, collaborating with the lovely Riley Messina with our brand new project named Overgrowth. I’ve been meaning to get to this post for awhile now, but we’ve just been so busy! Riley and I have been in Japan for almost two weeks now and we’re able to only just now sit down for a restful afternoon. Sheesh!
Overgrowth made its way to Japan through the help of some amazing friendships that Riley and I made during our last visit back in June. We first showed at Isetan in Shinjuku along with the Portland Pop-up shop thanks to the most awesome Daisuke Matsushima of Paddlers Coffee. In a few days, thanks to Megumi Inoue, we’ll be launching a gallery showing with a weekend of workshops at Gallery ROCKET in Omotesando. Lastly, in early October, we’ve been invited by Tokuhiko Kise to show at his amazing space at TRUCK in Osaka. All of our coordinating and translation has been headed up by the indispensable Tina Dhingra. And of course, we owe a debt of gratitude to our great friend Hideaki Hamada for helping to promote our dates. In any event, if you’re in Tokyo next week, or in Osaka the second week of October, we’d love to see you at our opening receptions! Or better yet, if you’re into flowers, come to one of Riley’s workshops! There are still a few tickets left.
Information on our workshop schedules and opening receptions are below. Tickets to Riley’s flower workshops, and very soon, prints, are available at http://overgrowth.bigcartel.com.
The Overgrowth logo was skillfully drawn by Joy Fitzgerald. All Overgrowth collateral was designed by Ben Biondo. All photos for Overgrowth were shot on Kodak Portra 160.
I’ve just returned from a second trip to Japan this year. The first was in February and its purpose was to shoot imagery for the current issue of Kinfolk Magazine. The second coincided with its release in Japan. I really can’t put words to how amazing I find all of this. As you may know, I’ve long loved Japan and in the span of only 6 months, I’ve been able to work nearly non-stop for Japanese publications and Japan-related stories. It’s too much for me to take in all at once. It’s sorta like a dream.
Volume 8 of Kinfolk marks a subtle but important change for the publication. The magazine will now be based around quarterly themes (the first of these happily being Japan) in hopes of including a broader scope of material, covering not only the usual fare (quiet moments, dinners and gatherings), but also the people and places that make these things possible. “Discovering new things to cook, make and do,” as Kinfolk now puts it.
For this special Japan-themed volume, I had the honor of shooting three stories and the cover. First, I was able to shoot a profile with Fog Linen Work creator Yumiko Sekine and clothing designer Rieko Ohashi (pictured on the cover). Secondly, I collaborated with Riley Messina and Erba Floral Studio for a piece on Ikebana. And lastly, I traveled to a small island in the Aichi Prefecture named Shinojima in order to document the Tsuji family bringing in a wakame seaweed harvest. Below are highlights from each story.
For thanks, I owe a particular debt to Sawako Akune. Without her incredible writing, her translating, her organizational skills and her friendship, I would have been walking blind. Secondly, I must give a verbal bear hug to Mayumi Nishimura, renowned macrobiotic chef and long-time friend of the Tsuji family. She grew up with them on Shinojima and arranged everything for us there. It is through her that I’ve discovered one of my most favorite places on earth. Lastly, I must give mention to the lovely Riley Messina. Her mastery of floral design (clearly on display below) continues to inspire me – as it should you.
And for the usual notes: All images shot with either a Contax 645, a Contax T2 or Leica M3 using Kodak Portra 160 and 400 films.
So we made it (for now). That whole Mayan thing is behind us and the Apocalypse is still somewhere looming off in the future. Christmas has come and gone, two thousand and twelve is dead and buried, and the fiscal cliff has been pushed down the road a few more months. Yay 2013. With all of this in mind, I wanted to share some photos that I took in 2012 but never had the time or the excuse or the permission or whatever to show until now. So prepare yourselves for a veritable casserole of photography.
But before all of that, a short word:
Two-thousand-and-twelve has been my most busy year by far. I did a lot of work for my friends at Kinfolk (as you may remember from here, here, here, here and here), but I’ve also been hither and tither shooting for myself and others. When I look back upon the last 365 days, I can’t believe all of the places I’ve visited and awesome people I’ve been blessed to come to know and work with. It truly humbles and gladdens the heart. The pity is that the vast majority of shots must still remain locked up in the photo vault for one publication or another. But were that not the case, I still wouldn’t have space here to include all of my unpublished favorites from 2012. So I suppose the following will just have to do.
The dear people pictured below include: My most favorite Riley Messina, Mr. and Mrs. Nathan Williams, my sister Joy Kim, Ryan Muirhead and Jarrod Renaud (photographer-brothers extraordinaire), Angel Taylor, Joe Lieske, Lana Nyman, Meredith Adelaide, Luke and Rachel Price, Tunde Baiyewu, the ever-talented Amanda Jasnowski, Alela Diane, Andrew Stonestreet, Tift Merrit, Jennifer Sullins, Kimbra, and of course, my dearest brother and friend James Fitzgerald III. There are many, many more who have graced my camera in the last year that must be kept tucked away — but only for the time being!
So. There we are. And without further ado, here’s to 2013 — may she bless you all heartily!
Admittedly, I feel a little guilty posting a blog while in India (isn’t there myriad more awesome things I could be doing here?), but it’s after dark and my body has no idea what time or what day it is and I am up and can’t sleep. And in any case, I’ve been meaning to post these photos for a few weeks now, so I’m just going to chalk this up to ‘being a little extra-special efficient.’ Here goes.
Shooting with Kara has become something of a yearly tradition. I’ve been taking photos of this woman almost since I’ve known what medium format was and I’ve come to regard our sessions together as benchmarks —a shoot with Kara for every year that I’ve been studying photography.
The first time I pointed a camera at Ms. Caldwell, I was using a Rollei SL66 with so many light leaks that every other photo was completely unusable. The few that did turn out, though, are still some of my favorites (this and this and this). The second time I shot with Kara was the first time I used studio lights ever. Our third session is now below. It was very laid back and shot mostly on her staircase. Here’s to another year and another shoot. May there be many, many more.
Of course, notes: all of these photos were shot using Kodak Portra 160 (except for the Polaroids, obviously). I used a Leica M3, a Contax 645, and a Polaroid 195 (just so you know).
These are far, far overdue. As some of you may know, my friends in Greylag recently (read: a few months ago) finished their first country-wide tour, playing with Augustana. My proverbial hat goes off to the boys for an excellent job well-done. They’re now very, very hard at work on some new music. I can say from personal experience that you’ll want to keep tabs on these guys. Really (really).
Anyway, we happened to take these photos as promotional awhile back. I still like them, as I don’t usually find myself involved with enough projects that require copious amounts of cut up construction paper to be tossed around my living room. Four months later, and I’m still finding confetti in my clothes.
Also, right now, listen to Greylag’s debut record The Only Way to Kill You. It’s the business.