Yusuke Yamatani first gained attention in 2013 with his debut photo book “Tsugi no yoru e.” Since then, he has exhibited his work internationally, including at the KYOTOGRAPHIE International Photography Festival and Condé Nast’s headquarters in New York. Constantly pushing boundaries, his photography reflects an ever-evolving mindset.

―― Your work often varies greatly in theme but still feels cohesive in style. How do you approach photography with such consistency?

While I shoot a lot of portraits, I don’t actually enjoy portrait photography itself. What I’m capturing isn’t the person, but rather the phenomenon happening in that space. I don’t use conventional lighting setups or meticulously posed subjects— it’s more like snapping a landscape. For example, even in my early snapshots or my “ground” series, you might think I’m photographing people, but often their faces aren’t even visible. This approach has been a consistent style for me since I first started taking photos.

―― So, you’re more interested in capturing society and phenomenon, not people themselves. Your background in music, like your drumming-based photography series, seems to fit into that. Was that series an example of capturing a phenomenon?

Exactly. I started playing in a punk band when I was 15 and have been drumming ever since. For my “Doors” series, I set up a system where the cameras automatically shoots whenever I hit the drums, and I could print the photos instantly. Since the cameras rotated in synchronization with the rhythm, I captured not only myself but also the environment and the audience around me—moments that could only happen in that space. I found that fascinating. I’ve always seen myself as an eternal observer. When I control a photo too much, it’s less enjoyable. I prefer when it feels like the image appeared on its own, rather than something I intentionally crafted.

In one striking image, taken at the live music venue WWW, where Yamatani has spent much of his twenties and where one of his close friends is the manager. The photograph features a life-size print of the venue’s floor, capturing every detail from the beginning to the end of the night. Footprints, spilled alcohol, sweat, and cigarette ash—each trace marks the raw, untamed energy of a livehouse experience, frozen in time through Yamatani’s lens.

――We commissioned a 12-page story, using the “DW-5000R” as the main motif. The work is entirely composed of monochrome film photography. What was the inspiration behind this creation?

I wanted to express my interpretation of G-SHOCK’s toughness by featuring people from the places I’ve lived. My first deep dive into photography was inspired by the works of Ryan McGinley and Dash Snow—documenting everyday life in raw form, which hit me hard at the time. I took a similar approach with this series, photographing people I have real connections with, from hometown friends to neighbors in my current neighborhood. As we age, our surroundings and social circles shift, but my closest friends have a shared trait—they pursue their passions with unwavering toughness. One of my subjects was a local skater-rapper who reminded me of my younger self, which was inspiring to see. Time only moves forward, but in our memories, it loops. This series is personal, but I hope viewers can feel something universal about time and experience through it.

―― Do you have any set rules for the tools or items you use in your photography, or even your everyday life?

Whether it’s the leather jacket I’m wearing today or the old MITSUBISHI Pajero I drive, I always go for tough, durable items that I don’t have to worry about damaging. My camera gear is no different—I mostly use compact film cameras from the 90s. They have this cool, toy-like design, even if you don’t use all the functions, but when you do need them, they come in handy. In a way, I feel the same about G-SHOCK. Right now, I’m working on a hot spring series that takes me deep into the mountains, and a G-SHOCK is perfect for that. It’s tough, I don’t have to pull out my phone to check the time, and I can easily keep track of my schedule without worrying about getting lost as night falls. It’s the only watch I consider truly essential for my work.

――What has kept you fascinated with photography?

I think it’s because photography as a medium suits my personality. It’s a fascinating blend of being both intense and detached. No matter how casually you take a picture, something will be captured. Even if you’re feeling nothing, someone might say, “That’s a great shot! It really captures the subject’s character.” It’s that cool detachment that keeps me hooked. That’s also why I’m drawn to watches like the G-SHOCK—like time itself, they’re simple and unrelenting. Perhaps it's enjoyable to portray the world without any attached significance.

The jacket favored by photographer Yusuke Yamatani, who prefers durable items during shoots to avoid worrying about anything else, along with the film camera he has used since the early days of his photography journey. In this story, he captured not only tough individuals and urban landscapes but also the cycles of time.

Profile.

Yusuke Yamatani

Born in 1985 in Niigata Prefecture, Yamatani began his career working at a photography studio after graduating from university. He traveled extensively throughout Japan, connecting with numerous photographers and learning from them, including Shomei Tomatsu, whom he met in Nagasaki. He has published six photography books and has held many exhibitions.

Instagram. @yusuke_yamatani