Review of Rinko Kawauchi’s Photobook “Hanabi”

The photographs in Rinko Kawauchi‘s “Hanabi”, when viewed individually, might prompt the average viewer to think, “I could take pictures like these too.” A professional photographer might find it more intriguing, questioning, “Aren’t these the shots I’d initially discard during selection?”

These photo do not strive for perfect horizontal alignment, do not aim for fireworks centered in the frame, and do not seek pristine compositions–essentially, they disregard the basic rules suggested by various photography guides. However, capturing these images is not easy; they were taken at multipile locations during various fireworks festivals. So, what exactly is Kawauchi trying to achieve?

I think that “Hanabi” “restores the true viewing context and authentic experience of watching fireworks.” A fireworks festival is not just about watching from a close-up vantage point; it has the potential to bring splendor, exclamations, and brief moments of beauty to an entire town. You might experience this on your way to the event, on your way back, or just while passing by. Therefore, for any given fireworks festival, you might open your car door for a brief stop, find part of the display blocked by a streetlight pole, or catch a glimpse of the fireworks fading into half the sky. Even at the event, there is no “ommiscient” viewpoint–everyone is likely to see the backs of the people in front of them or feel something from the hazy, white skyleft behind after the fireworks dissipate.

A nighborhood full of people watches fireworks from various positions, in different ways, and at different times, resulting in a multitude of perspectives. This kind of representation perhaps expands the societal significance of fireworks. It doesn’t require the viewpoint of a professional fireworks photographer, which is visually formal but no social or reflective of ordinary people’s experiences.

Such expression likely necessitates a photobook, with is complex processes of selection and arrangement, to fully immerse the viewer in that context and revive their own diverse experiences of watching fireworks.

No explosions. There are fireworks.

In Japan, fireworks may hold a new recognition. The annual fireworks festivals are etched into the childhoods of many, blending into their growth and encompassing memories of time spent with family and friends.

Therefore, for Japanese people, fireworks might be something too familiar and too everyday. As a result, when the word “fireworks” appears in Englilsh poem, it might be difficult for it to leave a special impression.

I would like to recommend a very short English poem:

No Explosions
by Naomi Shihab Nye

To enjoy
fireworks
you would have
to have lived
a different kind
of life

The author is American but of Palestinian descent. Whether this poem is written from the perspective of a child in Gaza or a dialogue with a child in Gaza is unclear, but in any case, the “fireworks” depicted in the poem refer to a different scene. They are the trajectories and explosions of rockets and interceptor missiles. This is outside the range of everyday experiences for Japanese people.

No explosions. There are fireworks.

Several Japanese Photographers Who are Often Mentioned Together

Interestingly, photobooks sold on Mercari are often introduced with phrases like “recommended for those who like works by someone and someone.” Upon looking, the following photographers frequently appear together: Rika Noguchi, Rinko Kawauchi, Risaku Suzuki, and Miho Kakuta.

Perhapes this is because all of their photobooks focus on capturing daily life and its details.