Bruce Osborn, Photographer.
Bruce Osborn, Photographer.
How did the Oyako series come about?
It all happened as a result of a magazine assignment where I had to take photos of punk musicians in 1982. I got this job just before the birth of our first daughter. As I was considering how to take the photo of the rockers, I was also thinking about becoming a father; these two thoughts just naturally converged when I hit on the idea of taking them with their parents. I figured that it would be an amusing way to bring out the differences in lifestyles and fashions, but what came back was infinitely more.
The pictures revealed so much about their family relations that it made me want to continue exploring this theme as a way of looking at Japanese society. I had no idea at that time what a big project it would become. I have been taking this series for 34 years, photographed over 6,000 families, and there seems to be no end in sight. Olympus has been supporting my project since 2004 and I am currently using their OM-D camera.
Has anything in particular stood out from all the portraits that you’ve taken for this series through the years? What’s been Bringing ideas to life the most surprising thing you’ve found so far?
The exhibition includes a series of parents and children photos I took in Tohoku following the March’11 Great East Japan Earthquake.
One of the first Oyako I photographed in Tohoku was a father and son. After taking their photos, the father said, “This is the first time I’ve laughed in the last three months.” I was at a loss for words. Though I felt I’d been right to come to Tohoku, hearing this also let in the chilly winds of loss.
A good portrait generally stems from a good connection between the photographer and his subjects. What sort of advice would you give to budding photographers in this regard?
When taking someone’s photo, it’s important to make the person feel at ease. It helps by sharing some information about yourself and also to be interested to learn more about the person you are photographing. If you want them to smile for the photo, then you need do or say something to make it happen. There are many ways to achieve this. Every situation is different, so you need to be aware of what is going on around you.
A photographer should “give” before he “takes” the photo.
Is there a method to your madness?
When I am taking an Oyako portrait, I am looking for those special bonds between the parent and child. I do not want to direct them on how to pose; I prefer to share this process together. As I’m photographing, I begin to feel a rhythm between the parent, child, and my camera. It’s like we’re musicians having a jam session. Once we get into a groove, everything flows and feelings come out naturally.
What was doing your very first exhibition like? How does someone start creating a body of work that can be used for an exhibition?
You start off with an idea and then you try doing it. The results never come out exactly as you planned so you need look at the photos and consider where to go from there. In the case of Oyako series, it started with the thought of photographing a punk musician with his mother. I wanted to see the differewnces. However, I was more amazed at their similarities. I was happily surprised and it made me want to continue exploring this theme.
