Acutely observing and documenting my surroundings have been second nature from early on, when I received my first camera at the age of 10.

Working most of my professional life in the photographic and printing industry, I was constantly exposed to visual arts, especially to photography. For a while my focus shifted from capturing my world with a camera to writing about it in the form of crime stories. But years ago, returning to my roots, I realized the medium of photography suited the goal to share my impressions with people in a way like no other.

I am not bound by conventional categories in photography nor geographically limited. I prefer to work quietly, in the background, sometimes almost invisible, other times developing a friendly bond with the people I photograph. I am less intrigued by the spectacular but more by the ordinary, the small details, the unexpected, the humorous, the human factor.




In the current phase of my photographic working, three topics dominate. First, the subject of Tokyo, the Metropolis of a thousand villages, using my neighborhood for more than 20 years as an example.
“My village”, Kagurazaka (神 楽 坂), is an enchanting place with an important cultural and historical background, very close to the Imperial Palace. An oasis of calm as a contrast to the other, dynamic, and hectic Tokyo.
Kagurazaka presents the amalgamation of old and new, amiable, and ancestral, but is also not immune to changes, good or bad, that occur in every other city.
In my photo book, “Kagurazaka Mignardises”, I have selected images that reflect what draws me to the Kagurazaka, the people, little curiosities, the traditions, and the still intact social fabric. Maybe a model for the big city life of the future?
I aim to contribute to the future of Tokyo by documenting and thus preserving images of my neighborhood, its people and places, traditional crafts, the joy of festivals, the quiet backstreets, the charming patina, and the little quaint oddities.
It is an invitation for visitors to discover this mosaic piece of Tokyo. But I also hope to share with local people, views of their hometown in a fresh way, they may have forgotten or never seen. It is my thank you to this community, in which my wife and I have been welcomed warmly.

The second theme is the Japanese idea of ​​wabi-sabi, strongly influenced by the Buddhist Zen philosophy, often described as the gentle melancholy of transience. In an increasingly frenzied, often violent, and visually overloaded world, it offers our senses an emotional resting place. I am fascinated by the slow and unstoppable decline of natural or artificial things and the beauty of the imperfect described by wabi-sabi.
二つ目は『わび・さび』、仏教の禅哲学に強く影響された日本の思考、しばしば、儚くも穏やかな哀しみとされる美意識です。ますます過激化し、時には暴力的とも言える視覚表現が席巻する世界において、この概念は私たちの感覚や情緒に安らぎの場を与えてくれます。 自然界のうつろい、そして人の手による造形物がゆっくりと、しかし確実に衰退していく経年変化、完全ではないゆえに現れる『わび・さび』の美学に、私は強く心惹かれるのです。

The third topic is the sea. From my first trip to Brittany as a ten-year-old to this day, I am fascinated by the oceans. Whether the Atlantic or the Pacific, when I get close to the shores, the vegetation slowly changes, the air smells different and suddenly the sea with all its beauty lies in front of me. My heart beats faster, like that of a small child.
I have great respect for the sea. The sea can be moody with storms or tsunamis, or simply calm and majestic. In my photography, I not only depict the water and the horizon, but also the sky, the clouds, the sun, the moon and what is happening on shore. The view of the sea and the endless horizon is never the same and always a source of fresh ideas for me.
そして、三つ目のテーマは『海』。 十歳の時、フランス・ブルターニュ地方への初めての旅での海との出会い、以来私は今日に至るまで海に魅了され続けています。それが大西洋でも太平洋でも関係ありません。海岸線に近づくにつれ、あたりの植生がゆっくりと変わり、空気が潮の香りを含み出す…そして突如、海がその美しき姿を現す。私の鼓動は幼い子供のように高まります。