Sensing Nature, Weaving Memories | 10 Questions for Kousuke Shimasaki | ISSUE #5

‘ISSUE’ is a series that delves into the sensibilities and thought processes of creators from across the globe, serving as a source of fresh inspiration.
In ‘ISSUE #5’, we present 10 questions to artist Kousuke Shimasaki, exploring the formative experiences and sensibilities that underpin his practice.

I am Kousuke Shimasaki. I was born on June 2, 1997, in Kochi Prefecture. Until university, my life was far removed from photography.

In the summer of my first year at university, I traveled to Kyoto with my girlfriend. The moment I pressed the shutter on a mirrorless camera she had borrowed from her mother was my first real encounter with photography. I found the sensation fascinating and gradually began to study photography. Initially, I started by researching photographers, and then delved into the history of cameras and photography, becoming completely immersed in the world of photography.

Currently, I mainly shoot lifestyle photography, while also actively expanding my practice as a contemporary artist, holding solo exhibitions through galleries.

As stated on my website, my consistent theme is ‘the connection between the scent of a place and memory’. Since childhood, whenever I traveled to a particular place, I often felt the ‘atmosphere’ of that location on my skin—a sensation that remains with me even as an adult. I define this abstract, invisible impression as the ‘scent of a place’. For example, in a dangerous place, you might sense a dangerous ‘smell’. In that sense, I still remember the scent from my trip to Kyoto.

I am also drawn to concepts such as nature and animism. Having grown up in the countryside, I was always surrounded by nature, and I think this environment has influenced my current artistic practice. Since moving to Tokyo, I have often felt a sense of confinement. Experiencing the gap between nature and the city, I want to express, through photography, the respect and kindness that humans inherently possess towards nature.

I don't really remember.
I might have taken photos when I was little, or maybe not.

Actually, I probably interacted more with video cameras than with still cameras. My father often used a video camera, so that left a stronger impression on me than cameras did.

As I mentioned earlier, my real starting point was the trip to Kyoto in my first year of university. That experience sparked my passion for photography.

In elementary school, I played dodgeball, and for six years through junior high and high school, I played baseball—I was quite the outdoorsy type. Because of that, I probably didn't interact much with cameras. But perhaps because of that influence, even now, unless I'm working on something at home, I spend most of my time outdoors.

To be honest, I used to care a lot about equipment, but over the past month or so, that has faded.
Ultimately, what matters most is whether the camera feels right in your hands. The tactile sensation when holding the camera or pressing the shutter—whether that feeling is directly conveyed to your body—is important to me.

I also see the camera as a companion in daily life, so I want to choose a camera that I feel I can use for a long time. If I had to specify, I’d say balancing weight and lightness is crucial. That’s why I stopped using mirrorless cameras—they just didn’t suit my sensibilities. My hands are large from playing baseball, so small grips tire me out quickly.

Also, because my eyesight isn’t great, I find optical viewfinders on SLRs more comfortable. I use them for my artistic work, but for commercial assignments, I often use heavier cameras and compact digitals. I originally used a Nikon D810, and now my main camera is the D850.

For my artistic practice, I often use a manual focus prime lens from Voigtlander. The ULTRON 40mm F2 Aspherical SL IIs is especially appealing for its light weight.

Lately, I’ve been hooked on ‘Crayon’ by Fuji Taito. I’ve also been listening to KID FRESINO’s ‘incident’ and ‘Way too nice’ for a long time.

Living in Tokyo in my twenties, I feel that the strength of genres like HipHop and Rock really resonates with me.

There might be a lot.
But if I had to say definitively, it would be my girlfriend and my family. They are absolutely the ones who influence me most.

When it comes to making work, these two presences at the core of my life are indispensable. I didn’t have these feelings until university, but through photography, I came to realize this.

Among well-known figures, I respect Sansei Yamao, Daisetsu Suzuki, Ryuichi Sakamoto, and Hayao Miyazaki. From them, I strongly sense the importance of cherishing nature and embodying the ideal qualities of being Japanese.

I think I’m drawn to people who possess an innate kindness.

Right now, the camera I want to use is a Leica.
I used to own an M3, but due to the rising cost of film, I had to let it go, albeit reluctantly. Recently, I have a strong desire to once again experience the appeal of something crafted meticulously by hand, its sense of solidity, and how it becomes more familiar the more you use it.

I’d also like to try the newest Leica model. I want to experience the pinnacle of Leica’s craftsmanship in their latest release.

I enjoy photographing people quietly sipping coffee in a midnight café, or someone standing absentmindedly in an alleyway. I prefer tranquil places away from the hustle and bustle of the city. Of course, I also love the great outdoors.

Lately, I’ve found myself drawn to the small, resilient flowers blooming on the roadside. When my beloved dog passed away, a single unfamiliar flower suddenly bloomed at home. It was surprising, and perhaps that’s what sparked this interest.

Even something small lives with all its might. Though they don’t have a voice, they strive to live. I can’t help but be drawn to such sights.

I really think it’s uncool to only think about your own interests.

I always try to approach others as equals and avoid acting with self-interest as my primary motivation.

Also, people who can’t express their own opinions when faced with differing views—those who can’t clearly say yes or no. It feels like they’re not truly engaging with me.

Lately, I haven’t really been buying clothes.

However, I’m grateful to the made-to-order suit select shop Auba Jaconelli, where I currently handle photography. These days, I often wear jackets, and in summer, I like to pair polo shirts with clean jeans and loafers for a vintage French vibe.

Basically, I don’t shop online. I buy whatever catches my eye in person, regardless of the brand.

When it comes to making work, I don’t really have any particular settings. The most important thing for me is not to use a flash. Since I love nature, I value natural light above all.

My strength lies in capturing the fleeting moments that define a space, so the natural light that enters a place is vital. For commercial photography, I sometimes use artificial lighting, but I prefer to avoid man-made light whenever possible.