The Moriyama Method
A new routine beyond the viewfinder
Since returning to Japan, I've spent less time on the streets taking pictures, and I've felt pretty bad about it. It wasn't a lack of enthusiasm or feeling depressed after coming back (but honestly I would take a plane now to be back). Time is always my main ally and my worst enemy.
Being back in the UK was a "call" to start hustling harder with my fashion photography to secure a proper income now that I'm a full-time freelancer. I had this necessary goal in mind: to push my name out into the void and be present in people's minds. But I don't want to talk about fashion today. That's an intense topic that deserves its own article soon.
What I want to focus on (pun absolutely intended) is how I decided to get back to shooting street photography. After realising that sending non-stop emails and scrolling LinkedIn for hours was giving me extreme anxiety (yay!), I grabbed my Fujifilm again, with the 23mm lens I hadn't touched in four months, and approached the street in a different way, a Moriyama way.
I remember an article that I read by
, how to shoot like Daido Moriyama, and I felt inspired to try this technique directly. I also thought it would be a nice connection between my trip to Japan and returning to reality. If you're not familiar with Moriyama, I can describe his style in a few words: black and white, strong grain, and not looking in the viewfinder. These three elements are something I've rarely used in recent years, and you know, I love a good challenge outside my comfort zone
Not looking in the viewfinder or at the screen is something I've been actively pushing myself to do, aiming to appear more subtle while I'm shooting. I still think I look a bit shifty, but I'm working on it!
Completely not checking if the pictures are okay, is a little bit wild, but thinking at the time when on film camera where available, I think I should feel more confident about my knowledge in photography that, somehow I’m shooting something that is acceptable. It's a huge leap in your skills, but also in embracing the chaos of the street and the unpredictable. It's a great exercise, not just in the moment of shooting, but also when you review your pictures. You might find yourself being less critical and perhaps even genuinely pleased with the results.
I think I went out to shoot a bit too early because the streets generally weren't very crowded. Unfortunately, I didn't have much time, so I feel like I missed the chaotic vibe so present in Moriyama's images. However, since I'm a big fan of quiet places and architecture, I still had the chance to capture some of those shots, which I enjoyed.
The black and white aspect didn't worry me at all. I generally love strong contrast, and the idea of pushing it even further and adding more grain (even more grain!) was something I was really looking forward to.
Using the 23mm lens was my real challenge, as usual. In my first shots, I was quite far from my subjects, they were completely lost in the environment, with nothing really standing out. I think I usually need about half an hour to warm up, grab a snack, and then I'm ready to go. My approach for these images was basically to walk, observe, and shoot from the hip without stopping. To be honest, I felt like a detective, snapping pictures of strangers and trying not to get caught in the act.
This experiment back to street photography, inspired by Moriyama's raw and unfiltered approach, has been a fascinating rediscovery. While my initial attempts might have lacked the true "chaos" of a bustling street, they offered a unique opportunity to slow down and observe better the environment that was surrounding me. The pictures didn't come out perfect, polished, or as compositional masterpieces, but that wasn't the goal. This morning was a great way to restart my routine, find time for myself, shoot randomly and freely, and ultimately bring back the joy of doing what I love. A big perk of the day was that I even got to do a test shoot with a model using a film camera in black and white (though not in the Moriyama style).
This experience truly reconnected me with the spontaneous and liberating essence of photography.
I'd like to say a big thank you to everyone who read my article, Is street photography a boy’s club? I really appreciate you taking the time to read it and engage in the comment section. I was mesmerised by the sharing, knowledge, and different perspectives. This was exactly what I was looking for: an open conversation with other creatives about a topic I truly care about. Thank you.
What a great way to kick yourself into gear. I always say I’ll do this kind of stuff myself and never do, but seeing these results and how unconcerned you were with the results is definitely the move. The last photo on film though is amazing, so nice.