晴れの日本料理 −青草窠のひと刻−
The Seasonal Beauty of Japanese Cuisine

2018, Kuryudo Art Publishing, 求龍堂
Planning & Supervision : Sanae Nagasaka, Design : Kaoru Kasai

On “Seisoka”
It started when I was contacted through the Waraku editorial department by Nagasaka-san of Seisoka, wanting to run a series consisting of food photographed by me. I replied that I was not a photographer specializing in food, so regrettably would be unable to oblige with “food photography”, but that did not seem to be the kind of shots she was thinking of, so I heaved a silent sign of relief, and while I was at it, came up with a cunning but plausible condition for my participation: that I could eat whatever I photographed. Imagine having some delectable dish, tantalizing aromas and all, placed before you, and only be permitted to photograph it – what a tragedy, and a waste. My cunning plan succeeded, and photo shoots at Seisoka became a much-anticipated joy.
In any case, having obtained their cheerful assent to my rather forward request, my monthly outings to Seisoka began. I was determined to do just two things: take the photos in natural light, not under any circumstances using what professionals tern artificial light; and take the photos on tatami. Ask me why tatami, and I struggle to answer – I imagine it was out of a powerful urge to see just the food the dishes it was served on. Seisoka just happened to have a tea room with excellent light, and all the photos in this book were taken there. On the appointed day, I would head to Seisoka just after 10am, and take my time to complete the shoot, working to after 2pm. Observing the steam rising gracefully from the dishes placed on the tatami, bathed in the gentle light entering the tea room, was as an interlude of unalloyed happiness. It was also when the elegance and beauty of Japanese cuisine, and its long history, struck me with great intensity. And naturally, one could hardly help but sense how delicious it was. I believed that if I could capture in the photographs this sensation of mmmm…, this desire on my part to eat the food, these thoughts would infect the viewer too. Which indeed required me to eat it. Repeating to myself the mantra eat, photograph, communicate, I had a wonderful time at Seisoka. Yet when my thoughts go back to different aspects of the job, I recall that it was actually my assistants, even more than me, who looked forward to those shoots. There were three of them, and they seemed to have tacitly worked out an equitable system for accompanying me. I will never forget the looks of serene satisfaction on their faces in the car on the way back after helping me on the day’s shoot, and partaking of the cooking. Watching them relaxing replete in the passenger seat I always thought, this is what people look like with something tasty in their bellies, and remembered that I too, had felt that same joy.
Yoshihiko Ueda
December 5, 2017



Tsubaki no NiwaMorini hairu68TH STREETForest KasugaForest QuinaultApple TreeHERMES / AW 2016HERMES / SS 2016MateriaLOFFICIEL JAPANPatagoniaJOURNEYSMemoriesThe Seasonal Beauty of<br /> Japanese CuisineM.GangesKamino ShozoM.VenusM.SeaM.RiverPERU ALPACAMIES VAN DER ROHEJOMONESEA DREAMMateria1986SHIZUMARUNoritakeSHIMAEYUMEFRANCK MULLERONE HUNDRED<br /> STONEWARESBIOSOPHIA of BIRDSCHAMBER of CURIOSITIESat HomeMISAKIPORTRAITPHOTOGRAPHSFRANK LLOYD WRIGHT<br /> falling waterFRANK LLOYD WRIGHT<br /> taliesinFLOWERSAYAKO FUJICONTENPORARY NUDES<br /> 3WOMENAMAGATSUWorks 1985-1993Quinaultinto the silentlandMagazin Portrait 1986 - 2019Works 2020Works 2019Works 2018Works 2017Works 2016Works 2015Works 2014Works 2013Works 2012Works 2011Works 2010Works 2009Works 2008Works 2007Works 2006Works 2005Works 2004Works 2003Works 2002Works 2001Works 2000Works 1999Works 1998Works 1997Works 1996Works 1995Works 1994Works 1993Works 1992Works 1991Works 1990Works 1989Works 1988Works 1987Works 1986Works 1985Works 1982-19840123456789|portfolio