Behind the Split Scenes: Stories Connected through Film Cameras and Instax

To start off, could you tell us a bit about yourself?

I’m Takashi. I’ve been into photography for a while, but it’s only in the past six or seven years that I started seeing it as more of an artistic practice. My day job is in the IT field, so photography is something I do purely for myself.

What first got you into photography more seriously?

It all started when my daughter was born. I wanted to capture those moments properly, so I bought a decent DSLR and began taking photos. This was more than ten years ago, when digital cameras were already common. As I kept shooting, I became curious about film cameras. I started using them out of nostalgia, remembering how things used to be, and soon realized that film felt a lot more engaging than digital. Since then, I’ve been shooting mostly on film, and that really deepened my love for photography.

What inspired you to start creating the kind of work you make now?

The camera I use most these days is a film camera called the Xpan by Hasselblad. It uses standard 35mm film but shoots in a wide panoramic format. At first, I was just having fun taking panoramic landscape shots and enjoying the fact that I could create photos like that. I wasn’t really thinking in terms of making “works” or artistic projects. But after a while, I realized that shooting in panorama always gave me these long, narrow compositions, and I started wanting to capture something broader. That’s when I came up with the idea of dividing a single scene into three or four frames and then lining up the negatives to reconstruct the original view. I love landscapes, but sometimes they just don’t fit within the frame of the lens I have. That led me to try splitting the scene into sections, and that experiment gradually turned into my current style.

So that method has really become part of your signature style.

Yes, that’s right. Once I started posting on social media, I realized that not many people were doing the same thing, and people began to see it as something unique. Having others notice and appreciate the style gave me more motivation, and that’s when I decided to keep developing this approach.

Looking at your Instagram, it seems like you also take a lot of photos of people.

Yes, besides the film works I shared, I also use Fujifilm’s Instax quite often. In fact, I probably shoot with that even more frequently. With my panoramic camera, I capture Tokyo’s streets in three sections, but with the Instax, I work in a square format and often photograph my friends. It feels similar to the early days of Instagram, when all the photos were square. I think instant cameras are great as a form of communication. I enjoy going out for drinks, and when I meet someone new at a bar, I sometimes take their photo and give them the Instax print right there. Seeing them happy to receive it always makes me happy too. I usually snap a photo of the Instax with my phone and post it on social media, almost like a little diary of the night. The Instax is something I use to connect with people, while the panoramic camera is what I use to enjoy photography as an art form.

Do you remember the first photo you took using the three-frame panoramic style?

Yes, it was a picture of the “Tokyo Station”. There used to be a central post office where the building “KITTE” now stands, and I took the photo from its rooftop, capturing the brick architecture of Tokyo Station.

When do you feel the happiest in your creative process?

Film photography involves many steps, but the most enjoyable part for me is printing in the darkroom. I develop the film myself at home to make the negatives, then take them to a rental darkroom to print onto photographic paper. I really love that moment when the image finally comes to life and takes its final form.

What exactly do you do in a darkroom?

A darkroom is a space used for developing exposed film and printing those developed images onto photographic paper. Since undeveloped film and photo paper must be handled without exposure to light, the room is literally kept dark. In the darkroom, the developed film is first placed in an enlarger, which projects the negative image onto the photo paper. When the paper is immersed in a chemical solution called the developer, the areas exposed to light turn black, while the unexposed parts remain white. This process brings the image to life on the paper. Finally, the print is placed in stop and fixing baths to make the image permanent, then rinsed with water to complete the photograph.

It sounds almost like a science experiment.

It does. It might sound complicated, but once you get used to it, it becomes a calm, repetitive process. Sometimes I think about how I could have done a photo differently, but once I get into the flow, it turns into a meditative kind of time.

Have you ever had any difficult experiences in your creative process?

Not really. The only times I feel frustrated are when I go through a stretch without taking any photos I’m happy with. Film and developing have become more expensive, and sometimes things just don’t turn out the way I hoped. Since my work isn’t made from a single frame but from two or three combined, there are times when the frames don’t line up perfectly or something unexpected ends up in the shot. When I photograph cityscapes, I always try to include people in the frame, but if their pose looks awkward or their face isn’t visible, the photo doesn’t quite feel right to me. That said, compared to many of my photographer friends, I think I’m pretty relaxed about it all. I’m not shooting for contests or chasing the perfect image. I do it because I enjoy it. So even when things don’t go well, I just think, “Oh well,” and move on.

It seems like you approach your work with a sense of ease.

Maybe if I put more intensity into it, I could create something even better, but for me, enjoying the process is what matters most.

When you want to improve your skills, how do you usually go about learning?

I think the best approach is simply to keep shooting a lot. I’ll probably continue this style until I get tired of it. It’s less about trying to get better and more about enjoying the process, and if something good comes out of it along the way, that’s enough for me. I rarely shoot out of obligation. I pick up the camera when I feel like it.I sometimes question whether that approach is too casual, but maybe keeping things natural like that is what ends up attracting people to my photos.

Earlier you mentioned that you always include people when photographing cityscapes. What draws you to that approach?

I live in Tokyo, and I’m kind of a stay-at-home person. I don’t have a strong urge to travel far. I usually shoot in places like Shibuya or Shinjuku—areas I visit for errands—and if I come across a scene that catches my eye, I take a photo. There are always people in the city. Some are in groups, some are alone, and together they create the atmosphere of the place. I’m not particularly interested in buildings by themselves, so without people, the scene feels incomplete to me. That’s why I always try to include them in the frame.

What does photography mean to you, and how has it influenced your life?

I think the biggest change photography has brought to my life is how much it has expanded my connections with people. Through shooting film as an artistic practice, I have met many new people, and by taking Instax photos of others, I have made even more connections, sometimes just by photographing someone at a bar and starting a conversation. For me, photography is something that brings people together.

Which of your works is your personal favorite?

It would be a view of the west side of Shinjuku. The area is now under redevelopment, but I once took a photo looking down at the Odakyu Department Store from above. I printed it large and have it hanging on my wall. I shot it about three years ago, and so far, it remains my favorite piece.

What does Tokyo mean to you?

It’s not my hometown, but it’s where I live and where I shoot. Tokyo is such a vast and diverse city, with so many different areas and atmospheres that make it fascinating. My photographer friends from overseas often tell me how they never get tired of photographing Tokyo, that there are endless ways to capture it. I feel the same way myself—it’s a city that never stops inspiring me.

Is the contrast between city and countryside important to you?

Yes, it is. I don’t really feel the urge to photograph natural landscapes. What fascinates me about Tokyo is the skyline, the tall buildings and distinctive architecture that look like a collection of big, interestingly shaped boxes. They serve as landmarks of the city, with people constantly moving beneath them. That kind of scene is what I want to capture. It feels a bit like being inside a giant toy box.

That’s a lovely perspective. Seeing the world that way sounds like it would make everyday life feel lighter and a bit more enjoyable. Now, looking ahead, what does your farthest vision of the future look like?

Since photography isn’t my profession, I don’t have a specific vision of what I want to become. But I’ve never made a photo book or a zine, and I think it would be wonderful to create one someday and have someone pick it up. Even if I eventually grow out of my current style, I hope to keep a visual language that people recognize as mine and continue taking photos in my own way.

If you were to make your own photo book, what kind of theme do you think it would have?

Rather than having a set theme, I think it would be more of a compilation of what I’ve taken so far. Most of my photos are composed of three connected frames, similar to a triptych in painting. Since my work mainly captures scenes of Tokyo, I always title my exhibitions “Triptych Tokyo.”

I just looked up the word “Triptych.” It means “three-panel altarpiece,” right?

That’s right. It’s a format often seen in religious paintings, where three parts come together to form a single work. In my case, it’s not a particularly complex concept—I simply use three frames to express one continuous scene.

Lastly, what would you like to say to someone who’s just getting into film photography, or to your younger self before you started taking it seriously?

I’d simply say, “Photography is fun. Give it a try.” That’s really all there is to it.

That’s such a simple and lovely message. Lastly, is there anything you’d like to share or announce?

I recently held a photo exhibition at a bar in Shinjuku Sanchome. I’ve also been invited to take part in an event called Tokyo Streets, which brings together street photographers from around the city to showcase their work. I participate from time to time, and whenever I do, I announce it on social media, so I’d be happy if people came by to see it. Lately, though, I’ve been having more fun photographing people who are out drinking, so I don’t go out shooting cityscapes as often. My street photos are mostly from Shinjuku and Shibuya, but when I’m out with my Instax, it’s usually around Yoyogi. There are even a few bars that always have some of my photos on display. Taking photos with Instax is something I really enjoy, so if anyone shares the same hobby, let’s take photos together—ideally over a drink.