His Entire Career Is in His Photographs

Kyoko Yamagishi● I'd like to take a moment here to talk about Lee's method of taking photographs.
It's highly unique and succinctly captures his essence as a photographer.
He started as a photographer with a Leica, and he shoots photos every single day. Not photos taken for the sake of shooting, but photos taken daily in his everyday life. So, in his photographs, not to exaggerate, lies his entire career.
From the outside, it's hard to tell what he's even photographing. At first glance, it might even seem like he photographs everything. Of course, he likely has his intentions, but if you consider the Japanese approach of 'first deciding on a theme,' he is an artist whose approach is not readily apparent. Then, he develops the photos immediately. The self-portraits titled 'TOWARD THE SOSIAL LANDSCAPE' actually began when he happened to capture himself in a photograph and found it interesting.
Mr. Watatani, do you decide on a theme before you shoot?



Osamu Watatani● I also try to avoid adhering to rigid styles as much as possible. By the way, when I look at Friedlander's photographs, even with different subjects, they all feel distinctly like Friedlander. What is the originality of his photography? When I ask younger people, the answer is often simply 'I like it.'

Hiroshi Oshima● I believe there are various ways to explain it, but perhaps it's best for younger people to simply respond with their gut feelings, whether they like it or not.

Yamagishi● I often view works through the eyes of a photographer rather than as a critic, so if I were asked the same question, I would probably answer, 'I like it.'

Reality Revealed Through the Pursuit of a Personal Gaze

Route 9W, New York 1969

Oshima● How did he himself feel about it? While it was likely a matter of intuition, he referred to his self-portraits as 'social landscapes.' What did that mean?

Yamagishi● He's a person who truly doesn't explain things with words. I once tried to arrange an interview with him in the 1970s, but I was met with a simple 'No.' He seemed to imply, 'We've already met and spoken, so just write whatever you want.'
However, he was very passionate about darkroom work, and he would talk animatedly about those aspects.
Also, when he visited Japan some time ago, the photography critic Shu Hiraki asked me to inquire about his thoughts on constructed photography, or staged photos, if I had the chance to meet him. So, I asked Lee about it.
His answer was, 'I feel that there are limits to what humans can conceive. What unfolds before my eyes is infinitely more interesting.' It was a clear answer, wasn't it?



Oshima● So the conclusion has already been reached (laughs). In my personal theory, Lee Friedlander was a photographer who, more than Robert Frank and others, brought reality into sharp relief by pursuing a deeply personal perspective.

MC● Thank you all for your fascinating insights today.

Yamagishi, Oshima, Watatani● Thank you as well.