I first met Takeshi Shikama four years ago in Arles, at the Rencontres Internationales de la Photographique, where I was reviewing portfolios of aspiring (and confirmed) photographers. Most participants bring a bound book, or portfolio of loose prints (mostly ink jet) behind reflective plastic. Sometimes you see gelatin silver prints. Sometimes computers screen presentations.
Takeshi Shikama arrived with several boxes of handmade platinum prints. Knowing how long it takes to make a proper print, I was impressed. He handed me a pair of white gloves and I started looking at the work. I became mesmerized by his images. At one point I looked up and noticed my silence was making the artist nervous. Takeshi does not speak English (or French). His wife Yukiko, who is also his assistant in the field, translated my encouragements and observations.
When Joseph Delarue and I opened Photo Vivienne in Paris last September, where we place an emphasis on the photographic process as much as the image, it was obvious we should show Takeshi Shikama’s beautiful prints.
During his trip to France for this exhibit, I was able to spend some time with the Shikamas. I took them to the forests of Fontainebleau and to Normandy where Takeshi captured trees as old as the invention of photography.
What drew you to photographing trees, forests?
I am very fascinated by the forest, enveloped in a natural and simple air. This is probably because I live in Japan where 70% of the land is made up of mountains and forests. Owing to Mother Nature’s rich blessings, we Japanese have continuously partaken in the long history and tradition of doing our best to preserve nature and even worshipping nature.
How do you approach your subject? How do you decide which tree to photograph?
I just walk into the forest and wait until I slowly start to perceive the voice of the forest. I do not decide which tree to photograph. When I am lucky, certain trees find me and wave to me to photograph them.
Is there a difference in your approach when using the medium and large format cameras?
With a large format camera I can take my time, I can carefully face the object obediently and look into it and look into myself. With the medium format, I am lighter on my feet, I can be very active. I can move quickly to capture the moment of light or evanescence.
Many people describe your photographs as soothing, calm, meditative. How do you achieve this visual quietness?
I try to take a picture as I draw, as I paint. Using the camera, I can fix the image. But photographing only represents 40% of the process. I put an emphasis on the creation of the print : the remaining 60% is dark room work. When making the print, I strive for the exact image which I saw while taking the picture.
Henri Cartier-Bresson spoke of “the decisive moment”, Wynn Bullock of “the fourth dimension” when mind and matter become one, when the essence of what is seen through the viewer crystalizes. Is there a point during the process of photographing where you “feel” it is the right time to press the button?
The moment when light details the scene in minute description.
You recently visited the forest of Fontainbleau, which inspired Barbizon painters and photographers such as Eugène Cuvelier, Constant Alexandre Famin or Gustave Le Gray.
Among the forests I visited, Fontainbleau was very impressive. Luckily, when I was wandering in the forest, it was raining most of the 5 days. There was only a little bit of sunshine. It was good to appreciate the serenity. I could concentrate on the feeling behind what I saw. I hope to go back and lose myself in the forest again.
Do you know you have the image you want when you take the picture, when you develop the negative or when you print it?
When I release the shutter of the lens, I know what I can get. Although, to acheive the result I expected, I have to print very carefully. Also, as platinum prints are only made by contact printing, making a good negative is very important. I dare not use digital. When I enlarge my negative, I try to carefully control the film to get the image I have in my mind.
Why do you favor the platinum/palladium printing process?
I like its rich tonality, the soft, gentle expression of light. I believe platinum printing makes it possible to acheive timeless artistic expression.
When did you start printing on Gampi paper (a paper traditionnally used for calligraphy)? Why do you prefer it?
I have been printing on Gampi for the last two and a half years. I knew about the beauty of Gampi paper and was sure it would suit my images. When I started making platinum prints, I was looking for good quality paper and started to collect different types of Gampi. However, I hesitated to test it because it is very delicate and fragile. It is difficult to handle. But one day I photographed the full moon over a tree in the garden of our country house. It was the 1st of January 2010. In Japan we have a tradition of writing calligraphy on New Year’s day. I naturally followed my desire and luckily captured the image I drew in my mind.
You are going to Scotland for a residency program at the Isle of Skye where you will pursue a series of landscapes you initiated in Hokkaido and the Netherlands. What is striking in some of these new images is the absence of trees. What do you look for in a landscape photograph?
I was inspired by the landscape in the Netherlands, with the immense low skies. I am looking forward to the dramatic landscape of Scotland which I have never seen. I am especially interested in the lighting, the northern lights. I expect that what I see will be different from what I see in the forest. Nevertheless, I will be the same as I am when I photograph in the forest. I wish to capture what is behind what I see.
Christophe Lunn
Takeshi Shikama : Silent Respiration of Forests
Extended through July 20th
Photo Vivienne
4, Galerie Vivienne
75002 Paris
France
(entrance : 5, rue de la Banque / Métro : Bourse, Pyramides, Palais-Royal)
Opening hours : Tues-Fri, 2pm-7pm; Sat, 11am-7pm, & by appointment.
