‘A form of meditation’: a photographic haiku to Japan – in pictures

A poetic new exhibition of dreamlike black and white images captures the country’s contemplative beauty, from lonely Torii gates to sprawling temple trees

Main image: ‘Catalysts for one’s imagination’ … Red Crown Crane Feeding, Tsurui, Hokkaido, Japan. 2005. All images: ©Michael Kenna; courtesy Peter Fetterman Gallery

  • Two Leaning Trees, Study 3, Kussharo Lake, Hokkaido, 2020

    Michael Kenna presents his largest-ever Hong Kong exhibition, Japan/A Love Story, featuring 100 stunning silver gelatin prints that distill four decades of his deep connection with Japan’s landscapes, traditions and culture. Known for his dreamlike black-and-white compositions, Kenna’s work is poetic, minimalist and meditative – offering a rare moment of stillness in a fast-moving world. Japan/A Love Story is at H Queens (9/F), Hong Kong from 25 April until 18 May.All photographs: Michael Kenna/Courtesy Peter Fetterman Gallery
    Two Leaning Trees, Study 3, Kussharo Lake, Hokkaido, 2020 Michael Kenna presents his largest-ever Hong Kong exhibition, Japan/A Love Story, featuring 100 stunning silver gelatin prints that distill four decades of his deep connection with Japan’s landscapes, traditions and culture. Known for his dreamlike black-and-white compositions, Kenna’s work is poetic, minimalist and meditative – offering a rare moment of stillness in a fast-moving world. Japan/A Love Story is at Blue Lotus Gallery, Hong Kong from 25 April until 18 May

  • Red Crown Crane Feeding, Tsurui, Hokkaido, 2005

    Kenna’s connection to Asia runs deep. Since 2006, he has photographed across the region, captivated by its atmosphere, light and emotional richness. ‘Creative inspiration, at least for me, can be found in light, atmosphere and any subject matter that arouses an inner emotional response,’ he says. ‘Asia contains a vast abundance of these elements’
    Red Crown Crane Feeding, Tsurui, Hokkaido, 2005Kenna’s connection to Asia runs deep. Since 2006, he has photographed across the region, captivated by its atmosphere, light and emotional richness. ‘Creative inspiration, at least for me, can be found in light, atmosphere and any subject matter that arouses an inner emotional response,’ he says. ‘Asia contains a vast abundance of these elements’

  • Fishing Nets and Mt Daisen, Yatsuka, Honshu, 2001

    Kenna: ‘On my first visit to Japan, I was blown away by the aesthetics, the spiritual and religious aspects, the curiosity of the people, their friendliness and generosity. Later, I went up to northern Hokkaido in the middle of winter, and it looked to me like a stark sumi-e ink painting, a white canvas with kanji characters marked on it. I’ve been in love with the place ever since’
    Fishing Nets and Mt Daisen, Yatsuka, Honshu, 2001Kenna: ‘On my first visit to Japan, I was blown away by the aesthetics, the spiritual and religious aspects, the curiosity of the people, their friendliness and generosity. Later, I went up to northern Hokkaido in the middle of winter, and it looked to me like a stark sumi-e ink painting, a white canvas with kanji characters marked on it. I’ve been in love with the place ever since’

  • Pilgrim Path, Yokomineji, Shikoku, 2003

    ‘I gravitate towards places where humans have been and are no more, to the edge of man’s influence, where the elements are taking over or covering man’s traces’
    Pilgrim Path, Yokomineji, Shikoku, 2003‘I gravitate towards places where humans have been and are no more, to the edge of man’s influence, where the elements are taking over or covering man’s traces’

  • Nine Birds, Taisha Shrine, Honshu, 2001

    ‘People often ask why I still use analogue photography, and one reason is that I can’t fully control or predict it – I never know exactly how the images will turn out, and I love that. Doubt is central to faith; not knowing fosters discovery and becomes a perfect incentive – a push and a drive to creativity’
    Nine Birds, Taisha Shrine, Honshu, 2001‘People often ask why I still use analogue photography, and one reason is that I can’t fully control or predict it – I never know exactly how the images will turn out, and I love that. Doubt is central to faith; not knowing fosters discovery and becomes a perfect incentive – a push and a drive to creativity’

  • Hilltop Trees, Study 1, Teshikaga, Hokkaido, 2003

    ‘I aim to distil the essence of a subject, finding simplicity in the complexity of the natural world’
    Hilltop Trees, Study 1, Teshikaga, Hokkaido, 2003‘I aim to distil the essence of a subject, finding simplicity in the complexity of the natural world’

  • Torii, Study 1, Takashima, Honshu, 2002

    ‘Torii gates symbolise the Shinto belief that deities reside not just in shrines, temples, churches, mosques and synagogues but in nature; in the earth, sky and water. These gates serve as reminders to respect and honour the land, the earth and our universe. Every individual will have their own interpretations, but when I see a Torii gate, I immediately want to free myself from unwanted distractions, focus on what is important, escape from the noise of the world, unclutter my “stuff” and prioritise life’
    Torii, Study 1, Takashima, Honshu, 2002‘Torii gates symbolise the Shinto belief that deities reside not just in shrines, temples, churches, mosques and synagogues but in nature; in the earth, sky and water. These gates serve as reminders to respect and honour the land, the earth and our universe. Every individual will have their own interpretations, but when I see a Torii gate, I immediately want to free myself from unwanted distractions, focus on what is important, escape from the noise of the world, unclutter my “stuff” and prioritise life’

  • Cloud Over Uchiumi Sea, Ainan, Shikoku, 2012

    ‘What I find most compelling is how silence and emptiness can communicate so much. That understanding shapes how I create. The discipline, silence, meditation and patience of my early experience in the Catholic church have never left me, nor the innate belief that some things might be unseen, yet can still be present’
    Cloud over Uchiumi Sea, Ainan, Shikoku, 2012‘What I find most compelling is how silence and emptiness can communicate so much. That understanding shapes how I create. The discipline, silence, meditation and patience of my early experience in the Catholic church have never left me, nor the innate belief that some things might be unseen, yet can still be present’

  • Temple Trees, Nara, Honshu, 2002

    ‘I prefer suggestion over description, like haiku poetry, where just a few elements act as catalysts for one’s imagination’
    Temple Trees, Nara, Honshu, 2002‘I prefer suggestion over description, like haiku poetry, where just a few elements act as catalysts for one’s imagination’

  • Mt. Takachiho, Lake Miike, Kyushu, 2002

    ‘Light and shadow are my collaborators, revealing the unseen and transforming the ordinary’
    Mt. Takachiho, Lake Miike, Kyushu, 2002‘Light and shadow are my collaborators, revealing the unseen and transforming the ordinary’

  • Seven Trees, Misumi, Kyushu, 2002

    ‘Photographing landscapes is about appreciating what we have and recognising how vital it is to protect it’
    Seven Trees, Misumi, Kyushu, 2002‘Photographing landscapes is about appreciating what we have and recognising how vital it is to protect it’

  • Dark Waters, Tsuda, Shikoku, 2001

    ‘I like to imagine myself as part of the universe, moving through the cycles of the seasons, from a distant beginning to an unpredictable end. Photography can become a form of spontaneous meditation’
    Dark Waters, Tsuda, Shikoku, 2001‘I like to imagine myself as part of the universe, moving through the cycles of the seasons, from a distant beginning to an unpredictable end. Photography can become a form of spontaneous meditation’

  • Ororon Line, Hokkaido, 2020

    ‘The world is pretty chaotic, seemingly always speeding up and getting louder and more visually dense. I am interested in finding or creating calm shelters from the storm, places where quiet and solitude is encouraged and inner contemplation possible. I think we could all use a break from time to time’
    Ororon Line, Hokkaido, 2020‘The world is pretty chaotic, seemingly always speeding up and getting louder and more visually dense. I am interested in finding or creating calm shelters from the storm, places where quiet and solitude is encouraged and inner contemplation possible. I think we could all use a break from time to time’

  • Temple Rooftops, Kyoto, Honshu, 1987

    ‘For me, the subtlety of black and white inspires the imagination to complete the picture in the mind’s eye. It doesn’t attempt to compete with the outside world. I believe it is calmer and gentler than colour and persists longer in our visual memory’
    Temple Rooftops, Kyoto, Honshu, 1987‘For me, the subtlety of black and white inspires the imagination to complete the picture in the mind’s eye. It doesn’t attempt to compete with the outside world. I believe it is calmer and gentler than colour and persists longer in our visual memory’

  • Temple Pond, Sanboh-in, Koyasan, 2006

    ‘I try not to make conscious decisions about what I am looking for. I don’t make elaborate preparation before I go to a location. Essentially I walk, explore, discover and photograph’
    Temple Pond, Sanboh-in, Koyasan, 2006‘I try not to make conscious decisions about what I am looking for. I don’t make elaborate preparation before I go to a location. Essentially I walk, explore, discover and photograph’

  • Cikisani Kamuy, Study 1, Sorachi, Hokkaido, 2023

    ‘Imagine yourself as one of the solitary trees –waiting, observing, experiencing, and living in the moment. I like to imagine myself as part of the universe, moving through the cycles of the seasons, from a distant beginning to an unpredictable end’
    Cikisani Kamuy, Study 1, Sorachi, Hokkaido, 2023‘Imagine yourself as one of the solitary trees –waiting, observing, experiencing, and living in the moment. I like to imagine myself as part of the universe, moving through the cycles of the seasons, from a distant beginning to an unpredictable end’
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