MEET Akemi Matsubuchi: A T8N interview

t8n: Tell us a bit about the types of projects you shoot.

AM: I specialize in commercial photography, which has a large umbrella of content: editorial portrait, advertising, event photography. I also love photographing food (and enjoy eating it just as much). Editorial portraiture is a big passion because I love meeting -people and highlighting them in an environment that reflects their personality. My personal projects are a complete opposite of my hired work, far less structured and planned out. I guess I like the change of not having to organize and control the scenes.

t8n: How would you describe your style?

AM: I’m not sure I have a distinctive style, but I definitely have a technical side. How the light looks is one of the key components I focus on first when building a scene, and I’m old school and still use a light meter. I’m also meticulous about details—making sure a shirt doesn’t look skewed or that a necklace clasp isn’t showing at the front. I gravitate to simplifying a scene, too.

t8n: What point of view do you bring to your personal projects?

AM: I have a more introspective feel when I am photographing for myself. Simple beauty is what I see most often. I’m in awe of nature when I am in the backwoods or mountains and want to share that. My travelling images often focus on the human condition or architecture. I still tend to lock onto simple scenes, but usually it’s just me being curious and showing that through my images. I also tend to ask a lot of questions (too many for some people!), but having a camera is a great excuse to be nosy.

t8n: Who inspires you to create?

AM: That’s changed since I started teaching. I used to look to the work of iconic photographers—forerunners, such as Irving Penn or Mary Ellen Mark—or painters and even watch movies for inspiration. Now I also look to my students. Seeing their excitement and desire to create is really invigorating. Some of their work is way out of the box, and that makes me realize I am being lazy. Teaching has also inspired me to pick up my film camera again and print in the darkroom! Forgot how challenging and fun that can be.

t8n: What advice has influenced you?

AM: A few key pieces I credit to my father from long ago. He reminded me from a young age of the importance of listening. I try hard everyday to remember that. It’s good advice in general, but as a photographer, listening to your client, art director, model, etc. is crucial to capturing an image that meets the needs. Being an instructor, this skill is just as important. Dad also encouraged taking risks and venturing out of home territory. Change can be hard, but it’s good for our souls.

t8n: If you could take your art in any direction and magically have the time/money required, what would you try?

AM: I would love to work more with composite images and create worlds beyond what my camera records in real life. It is a large departure from what I currently do. The other half of me would travel the world on roads less visited doing social documentary work and continuing my infrared series.

t8n: What attracts you to infrared photography?

AM: Besides the ethereal quality and serenity of the white glow, I love that it’s still unpredictable to me and that the images are always a surprise when I see them. I never know what image I will love until I work on it in post-production.

t8n: What does your dream photo shoot look like?

AM: I seem to have a Jekyll and Hyde, high maintenance/low maintenance answer to this. I’d love to take on an elaborate scene like Annie Leibovitz or Jason Bell have done for Vanity Fair—an environmental portrait of someone I admire that would involve me putting them in a tree or riding an elephant or something unexpected. Or you could just put me in a country I’ve never visited, and ask me to create a photo essay. I’d be equally happy with either.

t8n: How has digital technology influenced your photography?

AM: Hugely, both positively and negatively. The positive is the creativity and possibilities it’s allowed with composite work. The negative is that it’s created a large number of “weekend warriors” and amateurs doing work for very cheap. This makes it difficult for professionals to justify their rates and sustain a career despite a formal education and large investment in equipment.

t8n: Best advice you’ve given your students?

AM: You might get a different answer from them, but… I often tell them to be mindful when looking through the lens—to be present and slow down. To take the time to frame a scene and not just press the trigger because it’s easy. The camera is a powerful tool, so I also encourage them to use their gift to give back and support a cause that’s looking for its story to be told.

t8n: What’s something you’re sure of?

AM: Cliché as it may be, I’m sure I will love creating photographs until I can’t push that button anymore and will always love sharing that experience.

t8n: What’s something you’re still learning?

AM: Well that’s a long list. It ranges from learning a bunch of new skills in Photoshop and video-making to finding my voice and place in the fine-art world.

t8n: What’s an image that will stop you every time?

AM: Any image of the human condition in that decisive moment. I tip my hat to top photojournalists and what they show the world.

t8n: Any upcoming events or shows our readers can find you at?

AM: My infrared work is exhibited regularly at the Enjoy Centre, and I keep a list of upcoming shows on my website,
www.matsubuchi.ca. If you catch one, stop by and say hi. t8n

Akemi photo credit: Photo Credit: Karen D’Heer

Caption: Limited edition, giclee on canvas, infrared series.

Caption: Malaspina coastline, 2009.