Preserving the Present for the Future | 10 Questions for Photographer Kento Hirasue | ISSUE #10

‘ISSUE’ is a series that delves into the sensibilities and thought processes of creators from around the world, serving as a catalyst for new inspiration. For ‘ISSUE #10’, we interview photographer Kento Hirasue, who is based in Setouchi. His photographs gently and authentically convey the nostalgic rural landscapes that remain in Japan. Through ten questions, we explore his perspectives on photography and his approach to art.

Born in 1997, I am currently based in Setouchi, working as a photographer. I also work as a barista at Kinoshita Shoten while taking on photography assignments. As a personal form of expression, I mainly photograph landscapes and people, engaging in a practice that proposes what aspects of the present should be preserved for the future.

I started photography in my third year of junior high school when my grandfather gave me his camera. As a child, I loved plant and animal encyclopedias, so after receiving the camera, I remember spending some time photographing the natural scenery around my grandfather’s house. After that, I would also capture moments spent with friends after school.

Sometimes I look back at those photographs, and they have all become ‘nostalgic images’ for me. Now, each of those moments remains in my memory as a precious recollection.

In my creative practice, I am committed to shooting exclusively with medium format film. My grandfather owned a film camera, so I was somewhat familiar with it from a young age, but the photographs captured on 6×6 medium format film are incredibly vivid, direct, and possess a comforting aura.

I have consistently used a pre-owned HASSELBLAD film camera since my student days. I happened upon it at a used camera shop in Oita when I was a student. I heard that the previous owner was also a student at the time, which made the encounter feel somewhat fateful. I enjoy the sense that a used camera has passed through many hands, carrying with it a living narrative.

I listen to music where instruments like acoustic guitar and piano take center stage. In particular, I find the works of haruka nakamura and Hideyuki Hashimoto especially calming and enjoyable.

Designer Kenya Hara. He draws attention to Japanese aesthetics and is active with a diverse range of ideas. For me, Hara-san articulates what I perceive intuitively through precise words and design. Through his way of thinking, I have learned how to convey the relationship between the Setouchi region and Japan, as well as the allure of its history, and I hope to further refine my own creative practice.

I have a deep affection for my current HASSELBLAD, so I haven’t really thought about using anything else. If I had to choose, I think it would be interesting to shoot snapshots with a GR 35mm film camera.

Beautiful moments in everyday life. While it’s possible to create a situation, I approach photography with the intention of discovering moments in daily life that I want to capture.

Nothing in particular comes to mind.

Honestly, I’m not sure what is considered ‘cool’ or ‘uncool’.

I don’t buy clothes very often. I tend to keep it simple. If I do want something, it would be clothing by i a i / Iai. I once had the opportunity to see their pieces in person, and they were so powerful that I was almost intimidated to wear them. I felt the creator’s commitment to essence over trends.

Rather than settings, I have a preferred distance when photographing.

When photographing people, I often shoot either from infinity—very far away—or at a distance of 2.5 meters. While there is a technical aspect to this, as it’s a balanced distance for shooting with a medium format camera, after photographing various people from 2.5 meters, I’ve come to feel that this is the most comfortable distance between myself and my subjects.