Photography as an Extension of Communication

──Why classical musicians, rather than pop musicians?

My career originally started with pop and rock musicians. For about six or seven years, you know? With artists like Sting and Tracy Chapman. I lost interest in shooting within that glamorous world (laughs). I wanted to shoot photos that were more grounded, more artistic. That's when I started photographing classical musicians and began working with major classical music labels worldwide. My first project was with Kent Nagano, and that went very well, which was perhaps a factor.

──What is the difference between pop musicians and classical musicians?


Classical musicians are not accustomed to being photographed, so they reveal natural and pure expressions. On the other hand, pop musicians are used to being photographed, so they present their best face, the expression they think is expected. In that sense, classical musicians don't have a manufactured face, so it's important to proceed by having conversations, building rapport, and then finalizing the photograph. It's more like photography is an extension of communication, rather than the primary goal.


So, the actual shooting takes only a short time, and most of the time is spent talking. I'm not the type to press the shutter frequently. There have been times when I talked for two hours and only shot for ten minutes. Because we get to know each other over those two hours, such things are possible. If there's no trust, they might say 'no,' and that's the end of it. It's precisely because there's trust that they eventually show a natural expression.

The Most Essential Quality for a Portrait Photographer

──What's the secret to building trust?


It's important to talk to them as individuals, as fellow human beings. For those knowledgeable about classical music, these musicians are like gods. Some even hold the title of 'Sir.' Normally, of course, you'd have to address them as 'Sir' and speak formally. But I don't say 'Sir,' and I try to converse with them on an equal footing. Perhaps this is something I can do precisely because I'm not deeply knowledgeable about classical music (laughs).

For example, if they were to shake hands with 100 people in sequence, 99 of them would treat them as 'gods.' But if I alone approach them casually on the same level, they'll become interested in me. Of course, I know they are great musicians, but treating them as 'gods' creates a distance.


I believe this is the most crucial quality for a portrait photographer: to speak with the other person on the same level, not from above or below. I once saw the work of portrait photographer Richard Avedon, and he would set up his camera behind him, hold a cable release, and while interviewing, he would press the shutter without the subject realizing it. That was very interesting and educational. The focus isn't on the camera but on the conversation, and because the camera isn't between you, you can capture more natural expressions.

Photographs That Reveal the "Soul"

──Where do you find inspiration for your compositions?


From what I sense from the person. What they talk about, how they talk. I find inspiration in their inner self, which I perceive through our conversations. They travel to various places for concerts, so the shooting location can be a factor, but I strive to express the individual as fully as possible within the given environment.


The title of this exhibition, "The Soul of Music," emphasizes the importance of "soul." While their "soul" can be felt through their music, I wanted to create photographs where their "soul" is also visible in their expressions.

For example, the photograph of the trumpet player – she is actually a specialist in Baroque music. However, through our conversation, I sensed a jazzy side to her that I wanted to express. And the photo of him lying on the stones. We shot that in a vacant lot next to the studio, but the image is of him jumping from the third floor of the studio. He has a bit of a wild side (laughs).


On the other hand, the photograph of Kent Nagano is notable for his being bare. He is a very serious individual, and when he stands on stage as a conductor, he wears a formal suit and exudes a solemn aura. Therefore, with the keywords "free" and "direct," I wanted to create an image contrasting with his conductor persona to show his uninhibited side. Some photos have such stories.

And then there's the photo of Rolando Villazón. I believe he is one of the most famous tenor singers, but when I asked him to pose like a prima donna, he made this gesture. I was able to capture that wonderful moment in a photograph. This is a very rare expression, and it was only through trust that I could encounter such a miraculous moment.

I Would Also Like to Photograph Ryuichi Sakamoto

──This exhibition is being held at the Leica Gallery. Do you use Leica cameras regularly?


Of course. I've been using various Leica cameras for many years. Medium format, Polaroid, and so on. I choose from about four types depending on the situation. This time, I brought my Leica M9 to Japan. I always use the Leica M9 for snapshots, like a diary. Also, I recently started a collaboration project with Leica Camera AG in Germany, using the medium-format SLR camera, the Leica S2, for professional use. We're planning an exhibition in Germany featuring only works shot with the Leica S2, and I hope we can hold one in Japan as well. Oh, and I have another special camera in my pocket. This is an iPhone (laughs). Some photographers don't shoot with an iPhone, but I plan to hold a photo exhibition in Paris using photos taken with my iPhone.


I want to continue meeting various people, not just musicians, and taking their private photos. I would love to photograph Ryuichi Sakamoto as well. I'd be delighted if this OPENERS feature could lead to meeting him (laughs).


──Thank you very much.




The Soul of Music

Exhibition Period | Until Sunday, December 11

Venue | Leica Ginza Salon, 2F

6-4-1 Ginza, Chuo-ku, Tokyo

Tel. 03-6215-7070



Exhibition Content | 14 portrait works by 10 musicians

Trumpet player Alison Balsom

Soprano singer Anna Netrebko

Violinist Renaud Capuçon

Violinist Hilary Hahn

Pianist Hélène Grimaud

Conductor Kent Nagano

Pianist Krystian Zimerman

Conductor Sir Simon Rattle

Pianist Lang Lang

Tenor singer Rolando Villazon

Mat Hennek
Born in Freiburg im Breisgau (Baden-Württemberg) in 1969. After working for newspapers and broadcasters, he studied art at the European Academy of Fine Arts in Trier and the Lette-Verein in Berlin. His work has been published in magazines such as "BBC Magazine," "Cosmopolitan," "GQ," "Marie Claire," "Playboy," and "Vogue." In 1998, he founded the photo agency Kasskara in Berlin. He expresses the beautiful world of classical music in a completely new direction through the medium of photography. He has worked extensively on projects for major record labels including Deutsche Grammophon, Four Music, EMI, Sony BMG, Universal Music Group, and Virgin Records. Around this time, he began creating numerous portrait photographs of classical musicians and artists. In addition to classical music, he has also worked with musicians from other genres such as David Byrne, Lis Wright, Sting, and Tracy Chapman. In parallel with portrait photography, he also undertakes advertising photography for major brands. Since 2006, he has focused on photography as fine art. Since 2007, he has resided in Switzerland with his partner, French pianist Hélène Grimaud.