The Tokyo Forgeries Blog
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My Tokyo Street Photography Love Letter!
Tokyo is clean, safe, easy to navigate, and full of fun. I’m lucky to capture its beauty and even better to share photo tours of the city!
In Tokyo, Colour Is Best For Street Photography!
I love shooting in black and white. I even bought a camera that only takes black-and-white photos, the Leica Q2 Monochrom. But why say Tokyo looks best in colour? I believe it does.
1:1 Aspect Ratio Is Best For Street Photography?
I often use the Leica Q2 Monochrom and Nikon Z9, both with a 24 x 36 mm (3:2) aspect ratio—ideal for landscapes and portraits, and familiar in formats such as TVs, theatres, screens, and prints. Since 3:2 is common, why pick 1:1?
Shibuya Crossing: Street Photographers Hate It, I Love It.
I seek a moment in street photography and beyond—unfiltered, fleeting, and vivid. Trends don't matter; only that almost tangible instant. Often, I miss it.
Rediscover Street Photography in Shibuya
Twenty years and three kids later, I lost the confident innocence once captured in Shibuya. I love all photography, especially street, practicing it daily—even without a camera. Complacency can sneak in, inspiring the name Tokyo Forgeries—a daily call to stay original.
Tokyo Changes, Shoot It Before You Lose It.
Tokyo Changes
Cities constantly change. Tokyo, one of the largest and most vibrant cities, undergoes rapid and unpredictable transformations. A favourite shooting spot may disappear, then reappear later.
28mm Is The Best Focal Length For Street Photography!
Is 28mm the best focal length for street photography? Many say yes, and I often agree. But sometimes not. It’s tricky—neither wide-angle nor standard like 35mm or 50mm. This balance makes it popular: wide enough to capture scenes without distortion, yet distinct from typical lenses.
What is the proper etiquette for street photography?
What is street photography etiquette? Do people follow it? When is it crossed, and who decides? Based on 20 years in Tokyo, I'll share my view—but etiquette is personal, not absolute.
Capturing Eye Contact: Facing Fear in Shibuya
Eye contact is paramount. It resonates with everyone; it doesn’t matter if you enjoy street photography or any other type of photography—we all grasp the impact of eye contact. Why is it so hard to capture it? For me, it is fear.
Fear of the unknown, to be more specific. How will they react to having their picture taken? When I show them, how will they respond to my rendering? All these thoughts, along with the calculations, mathematical and creative to take photographs, plow through my mind instantly—the click of the shutter button is merely the result of all that grey matter processing. If the math is correct, the sum will be a good image.
Working the Scene in Tokyo’s Shibuya
One of the first lessons learned as a new street photographer is to work the scene. That is, to move around the scene you are shooting for the best image to capture. I learned this lesson very early as I only had access to a single lens, a 50mm. I would love to claim artistic instinct, but in truth, I had no other choice.
A Beautiful Night of Street Photography in Shibuya
What constitutes a beautiful night of street photography is italicized below. Though it is written in the formal language required for another publication, the highlighted text provides insight into not only how to approach teaching street photography but also how I practice it.
The Joy of Sharing Our Street Photography.
Most of my day as a street photographer is spent scouting new locations rather than shooting them. I do this not by choice but through instinct. I spend just enough time exploring an area’s potential, capturing something I am happy with, and moving on. I have many favourite spots in Tokyo. I revisit them often but never consider any particular place to be mine. If anything, they belong to the city, and I have only carefully observed their potential.
2025 Content Strategy: Or How I Learned to Trust Myself
Setting goals for 2025, my writing reflects my photography: feel it first, then create. I avoid strict plans because they cause average work. I imagine the shot beforehand or on the spot—the right light, contrast, and background. After years of practice, there’s no
2025: Year of the Street Photography Book
I've aimed to write my own Tokyo street photography book, but each writing session sparked new ideas. After a week, several concepts emerged, each with a brief and dedicated page below. Producing these will take most of 2025 and likely dominate my creative work this year. I look forward to the challenge and the experiences it brings.
Three Interesting Street Photography Inspirations
Every art has masters, innovators, and unsung heroes who inspire and guide us. While much is written about top street photographers and their work, this essay explores the subtler influences I draw upon when shooting Tokyo’s streets.
Capturing Street Photography Silhouettes in Tokyo
I recognize that some perceive silhouettes as clichés associated with beginners or lazy street photographers. However, I've included silhouettes in my list of favourite street photography images. That said, I regard street photography silhouettes similarly to any technique: they're valuable to know, and mastering them can be even more beneficial because you never know when the ideal opportunity will arise on the streets.
Are Monochrome Cameras Necessary In Street Photography?
In photography, monochrome cameras stand out for their unique ability to capture images in shades of black and white, delivering striking contrast and depth. While many photographers opt for traditional colour cameras, the benefits of monochrome cameras cannot be overlooked.
The Definitive Guide: Motion in Your Street Photography
Adding motion in photography introduces dynamic and psychological layers that deepen viewer engagement and reflection. This is especially relevant in street photography, with its diverse styles and subjects.
Is Every Street Photo We Take a Self-Portrait?
Do you take self-portraits? I think we all do. I know we all do. From a certain point of view, we all do. At least, I think we do, don’t we?
Returning to the Scene: Roppongi MidTown
Revisiting a location can yield impressive outcomes, exemplified by this image of a woman hurrying past an LED billboard in Tokyo Midtown.