Yahoo! News Eita Nagayama reveals the reason for turning to the "shooting side" with the camera in hand "I have never been satisfied with my play."

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Eita Nagayama's "How to Take"

Eita Nagayama

The photo book "Eita Nagayama, Photographs" (Magazine House) taken by actor Eita Nagayama was released on January 20th. This work is a compilation of the serialization that began in 2016 in the fashion magazine "GINZA", and Eita Nagayama himself makes an offer to the person he cares about and shoots it. [Photo] Photo taken by Eita Nagayama As subjects such as actor Masaki Suda, singer-songwriter Yasuyuki Okamura, kickboxer Takeson, entertainer Kuro-chan (Yasuda Dai Circus), YouTuber Hajime Syacho, etc. The names are those who are active on the front lines of all fields. Where and how to shoot and how to show it. You can see how Eita Nagayama faces the photographs in the free production that changes depending on the person taking the picture. What kind of influence did Eita Nagayama have on the series of "shooting people" that lasted for about 6 years while appearing in dramas and movies? We asked him about his commitment to photography, his changes, and his camera itinerary. --A bi-monthly serialization for about 6 years is now in one photobook. If the serialization of several pages is completed for 6 years, it is quite huge. Nagayama: It wasn't a serialization that I started with the purpose of publishing a photobook, but when I see it in shape, I feel a sense of accomplishment. Once again, I am grateful to everyone who cooperated. ――While you usually have many opportunities to stand on the “shooting side”, how did you feel about going to the “shooting side” in the series? Nagayama: Although it's far from being a professional cameraman, I was able to work on shooting with particular attention every time, so I felt very fulfilled. In between the drama shoots, I was relieved to think about which camera to use to shoot that person and the next shoot. To be honest, the desire for equipment has increased steadily as the series has been repeated. In a sense, buying a new lens was my motivation for work (laughs). Besides, without this series, I might have been suffocating as an actor. I've never been satisfied with my play. But when I took a picture, that feeling of being "taken" had a part that made me feel satisfied. In a good way, it was also a change of pace when I was worried about the role. --Mr. Nagayama himself did everything from casting to location scouting, interviews, and shooting. What were you conscious of for each shoot? Nagayama: How can you bring out the facial expressions of the other person in a limited amount of time? That's all. Basically, I entrusted the shooting to the place where the person wanted to go and what he wanted to do so that he could get closer to the "person-like part" of the subject. Movie lover Koji Seto is at the cinema. (Emoto) Yu says he wants to go to see the cherry blossoms, so go out with him. After that, I researched in advance how the subject was taken by a professional photographer, and intentionally aimed at a new photograph. ――When you look at the pictures, you don't feel like you're being taken. I get a very natural impression. After all, do you often shoot while having a conversation during shooting? Nagayama: That's right. Mostly I'm talking. Depending on the other party, you can laugh as much as you can while shooting, make strange movements, and keep telling the bottom story. That way, when I don't know if I'm taking a picture or talking, I think it's the most interesting time to take a picture. (Ishibashi) Shizuka's profile is a sad expression taken at the moment when the conversation was interrupted by continuing to speak. This is one of my favorites. On the other hand, (Moriyama) Mirai is shooting while discussing, "Would you like to shoot like this?", But they were laughing at each other. While saying, "You're fooling around!" ――It is clear from the photos that the production and facial expressions are devised according to the other party. What does Mr. Nagayama feel about the other party? I also felt that the meaning of taking pictures by Mr. Nagayama and the real thrill of this work are packed into it. Nagayama: When I stand on the side of being photographed, I strongly feel that the cameraman sees me as the subject. Some cameramen aren't interested in me and aren't trying to see anything, while others are bothered to say, "That work was good." From the "photographed side", photography is a dialogue. During shooting, the facial expression is created by the air of the person pointing the lens in front of you, rather than worrying about the rise. Even if you only shoot for a few hours, the pictures you can take should be quite different between the former and the latter. Because I know that, when I turn to the "shooting side", I always bring my feelings for the subject to the scene. Rather than consciously, I'm rude if I don't show my respect by being naked. Even if I hold the camera with my shoulders stretched, I can't think of breaking the shell of the "shooting side" from the "shooting side". --It's just like what you said. Nagayama: I want to take a picture of my face. I think that the duality and way of life that a person has will all come to the fore. In order to take a picture of that face, I, the "shooter", must first walk up. In fact, I have realized many times that the more dialogue I have, the more convinced I am that I was able to take a face that no one but me could take. ――If you follow the changes in the flow, the photos will become simpler as you continue the series. As for the color of photographs, the proportion of monochrome is increasing more than that of color. Personally, I have a feeling that wrinkles and holiness on the face look more impressive in monochrome. When I heard that I wanted to take a picture of my face, I was strangely convinced of the change. Nagayama: Originally, the title of this series was "Younger Man, Catharsis", and I wanted to capture the "current faces" of wonderful younger actors such as Masaki Suda and Nijiro Murakami. However, I changed the title to "Eita Nagayama, Photograph" on the way, and now I can take pictures of people other than younger men. That being said, there was certainly a part of taking older people who was fascinated by the colorless photographs. However, it depends on the other party. With color photographs, you can see the scenery by pulling, and the subject may stand out only when the color information increases. Actually, when I took a picture of Mr. Araki (photographer Nobuyoshi Araki), I brought only the color film to make a decision. I don't think the photos I take will be monochrome in the future. ■ Camera Itinerary and the Future-What made you interested in photography in the first place? Nagayama: When I was a kid, her mother often took pictures of me and my brothers, and many of them are on the album. So, I've always had pictures as part of my life. I think it was the first time I took a picture of myself when I was in junior high school when I took a picture of my school friends with a disposable camera. At that time, the disposable camera itself was easy to buy for a few hundred yen, but the development cost was quite high. I grew up recognizing that kind of photography, so I still think about the weight of taking one. There is no mobile phone with a camera, let alone a smartphone. It was an era when a feature phone had a glowing antenna (laughs). ――You can shoot as much as you want now. The same is true for smartphones, and digital cameras can be retaken. Nagayama: Now, I think that the meaning of having expensive equipment is a sense of ownership. If you feel like it, you can take as many beautiful pictures as you want with your smartphone, and if you use an app with a film-like filter, you can easily reproduce the light leakage peculiar to film. Even so, I feel that the act of spending money on developing with real film has some meaning, so I'm sticking to it. ――By the way, how many cameras do you have now? Nagayama: How long will it be? For the time being, I'm trying out equipment from various manufacturers from the beginning. First of all, I bought the Canon FX myself, and if it's the same Canon, it's the F-1, the digital 5D Mark 2. Also, Nikon FM3A, Olympus flash film camera, Ricoh GR, GR2, GR3, Rolleiflex twin-lens, Contax 645 ... The most common Leicas are M2, M6, M9, M (Typ262), Monochrome, SL2-S. Perhaps some of the equipment is missing, but for the six years I was serializing it, I was pouring the guarantee for each work into the equipment anyway. Still, there are tons of cameras and lenses that I would like to try. ――It seems difficult to choose a camera to bring to the site. Nagayama: When I was just starting the series, I brought a total of six cameras, including digital film and medium format. When I think about it now, it's too experimental. From the standpoint of the "shooting side," I can't concentrate on shooting if multiple cameras take turns, and I hate it (laughs). After realizing that, the number of cameras used naturally decreased. The number of times you release the shutter, the shooting time, everything has become compact. In some cases, I dared to use medium format to set restrictions, such as taking only 24 shots for two films. ――Only 24 sheets is a drastic challenge, isn't it? Nagayama: Kishin Shinoyama said, "I'm only taking three pictures today. Nice to meet you, Eita-kun." I have had the experience of taking only three pictures. On the other hand, there are cameramen like Jiro Konami who ignores the editor's restraint and keeps shooting until the sun goes down, even though the time is running out (laughs). Whether you take only three shots or don't quit shooting until you're satisfied, both are sincere in terms of how you face the subject. When I'm on the "shooting side", I want to show my sincerity by taking it in a stimulating direction. It's not about the equipment in the photo, but how you face the subject. The camera is, after all, just a machine for taking pictures. Even when talking about photography, it's nice and fun to be asked "How do you produce the nuances of that photo?" Rather than "What camera did you take that photo?" ――You really like photography. If you have an offer as a cameraman in the future, what kind of photos would you like to take? Nagayama: Is it commercial? Hmmm. I've been shooting serially for 6 years, but I don't have the technology to meet the demands yet, so it may not be suitable for commerce. If it's a job that takes that into consideration, I feel like I'll do something about it. Either way, I want to shoot people rather than things and landscapes. In my private life, I keep taking pictures of my family every day, so I think I will continue to do that. ――I would like to see a book that has already been taken, not just taken. Many of you may have become a fan of Mr. Nagayama's photographs as a result of this work. Nagayama: Well, that was when I left this world someday (laughs). However, I think that the fans of the people who appear here often pick up this work asking, "What kind of photos are there?" Of course, I would like you to see their facial expressions, but I would be more than happy if you could feel the process from Masaki Suda to Yuriko Ishida. I've been shooting people I admire for 6 years, and of course the way I shoot has changed, and I may not have grown up ... (laughs), but I know that something has definitely changed. Because you should be able to. If you like, please imagine how I was shooting them, including the essay at the end of the book.

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