相比一名攝影師，北岡稔章更像一位畫家，相機是他的畫筆，世界是他的顏料。早前他出版攝影集《私は絵が描けない》（I can’t draw a painting），猶如一本抽象畫畫冊，失焦模糊的色塊、曖昧不明、溫柔細膩的影像更讓人深深著迷。「攝影是關於我和另一個人的，以及理解世界的渠道。」擅於人像攝影的北岡，透過鏡頭凝視相中人，彷彿能窺見對方柔軟的內心。他說，未來想拍些有故事的相片，事實上他早已做到了，如電影般詩意而充滿故事的影像，在「咔嚓」一聲的瞬間，永遠地保存下來。
Are there painters in this world who don’t paint?
Compared to a photographer, Toshiaki Kitaoka is more like a painter. His camera is his brush, and the world is his palette. Earlier on, he published a series of his photography work under the title, I Can’t Draw a Painting. Rather than a photography collection, the book is more like an abstract art book. The blurred and hazy blocks of colors and the delicate and ambiguous images are deeply captivating. “Photography is about me and another person, and it serves as a pathway to comprehend the world,” says Kitaoka. Skilled in portrait photography, Kitaoka gazes through the lens at his subjects, as if glimpsing into their tender souls. While he expresses his desire to capture more photos infused with narratives, the truth is he has already achieved this feat. His images resemble poetic and story-filled scenes in a movie, forever preserved in the fleeting moment of the shutter click.
O: You initially studied architecture in Osaka. Why did you switch to studying visual arts and photography, and eventually become a professional photographer?
T: The idea of becoming an architect sparked within me when I saw Frank Lloyd Wright’s work in a magazine. However, as I delved into photography and experienced the swift creative process with a simple click, I found myself deeply drawn to it. This led me to make the decision to shift my focus and pursue studies in visual arts and photography. As things progressed, I realized that my personality was better suited for shorter-term creative endeavors, so I enrolled in a photography school in Osaka and subsequently secured a position as a photography assistant in a studio in Tokyo. As I found myself presented with more and more work opportunities, I decided to resign from the role as an assistant and established myself as an independent photographer.
O: You did a lot of portraits. Can you share why you enjoy doing that and what are the things that demand attention?
T：I always find portrait photography refreshing because some parts of it are beyond my control. In my view, it is a unique medium for capturing an era and also emotions. When taking portraits, I always consider which light to focus on. This choice has a huge bearing on the picture. It is akin to painters picking a drawing tool. In the case of portrait photography, since it is closely linked to distance, space and communication, I adjust how I interact with the subject person based on his or her wavelength.
O: Can you talk about how you make use of light and shadow?
T：While deciding on which light to focus on, I also think about the kind of picture that I’d like to create. When you pay attention to the balance between highlight, middle and shadow, the picture will naturally become clear to you.
O: You have always been focused on portrait photography. Why did you release a photography collection with landscapes and objects as the main theme?
T：I kept taking portrait pictures because I believed that to be my forte but I couldn’t manage to find a concept to bind them together as a single work. By deciding on a concept, which corresponds to a crucial part of the creation process and letting myself be restricted by it, I’ve put together photography books that viewers can also understand. At first, I had poured myself into my own style but in recent years, I have felt the need to keep transforming myself so I’ve been actively incorporating new elements and things that interest me into my creations.
T：In Equally, beautiful, I’ve limited my subjects to flowers. But then I felt a sense of frustration because it dawned on me that with this restriction I’ve taken away my own freedom. I do photography with an aim to gain a sense of freedom but I’ve taken away my own freedom. In I can’t draw a painting, by combining flowers, scenery and human beings, I’ve presented viewers with questions so that they can arrive at multiple interpretations.
O: What do you want to express through these two photography collections? Do you feel that this photography style is closer to yourself?
T：To put it simply, when we examine carefully what we see, what we touch, and our surrounding scenery, we will discover new perspectives previously unknown to us. Just like things change when we adjust the angle. It’s alright not to fuss about trifles but just change how we see things. I’ve always used my own words for titling my photography books. I decide by consulting my own feelings at that very moment.
O: Are there any photos in the collection that hold special meaning to you?
T：I like these three photos based on my current mood. I’m drawn to images and colours that can stir up imaginations. Every time I’d entrust the designer with the photo selection for my photography books, which combines both subjective and objective considerations, so that even I myself would find the completed work refreshing.
