Sukita

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8

9

Masayoshi Sukita: Sound & Vision Campbell Gunn, Iconic Images

Masayoshi Sukita was born on May 5th 1938 in the coal-

photography who was born in the city in 1838 and taught

mining town of Nogata, Fukuoka Prefecture, which lies

many important photographers of the nineteenth century.

in the northern part of the southern Japanese island of Kyushu; he was the second son of father Taketomo and mother Mitsue. The family business was a hardware

In 1958, after twice failing to enter university, Sukita moved

and household goods store called Sukita-Shoten.

to Osaka and entered the Commercial Photography Department of Shasen, the Japan Institute of Photography and Film. A photograph of a deer skull and antlers, taken in

Family Group Portrait (Masayoshi Sukita far right), Nogata, Fukuoka, 1941

Sukita entered elementary school in 1945, but was

Nara, won first prize in the graduation exhibition. During

evacuated later that year to the nearby town of Uchigaso.

his Osaka years, Sukita spent more time in the cinema than

His father had been dispatched by the army to Shanxi

attending classes. He immersed himself in the French ‘New

Province, China, where he died two days after Japan’s

Wave’ movement, especially the films of Alain Resnais, and

surrender on August 17 1945. Sukita’s memories of his

the emerging ‘underground’ movements in the West.

th

father are limited. Yet he remembers the photographs his father sent home from China, including one of his Sukita beside a statue of Japanese photography pioneer Ueno Hikoma, Nagasaki, 1957

fellow soldiers bathing in an oil drum.

Upon graduation, Sukita became an assistant to the renowned commercial and landscape photographer Shisui Tanahashi, a founding member of the Spiegel

Shotengai Parade, Nogata, Fukuoka, 1956

In 1956, when Sukita was in his third year of high school,

Photographers Association and a significant contributor

he began to take an interest in photography. That summer,

to the post-war avant-garde photography movement

despite the family’s straitened finances, his mother gifted

in Japan. Tanahashi provided Sukita with a firm

him a Ricohflex camera. Sukita’s first (and his self-

grounding in photographic technique, while also

proclaimed most beautiful) photograph was, appropriately,

nurturing his creative talent: ‘Tanahashi mostly took

a portrait of his mother in Bon Odori festival garb.

photos that were considered artistic, so as I was starting my career, I was able to gain fundamental experience in pure photography with this great master.’

After the end of the American occupation in 1952, American popular culture swept through Japan. Sukita’s

Dormitory of the Japanese Institute of Photography & Film, Osaka, 1958

Entrance to the Japanese Institute of Photography & Film, Osaka, 1958

grandmother and uncle often took him to the theatre and

While working in Tanahashi’s studio, he was assigned to

cinema. Sukita’s passions became jazz, rock ’n’ roll and

photograph a young woman entering into an arranged

Western movies – as reflected in his cinema screenshots of

marriage, who needed a portrait to show to her future

Marlon Brando in The Wild One and James Dean in East of

husband. Sukita remembers this first portrait session,

Eden. On two occasions he cycled from Nogata to Fukuoka

which keeps him ‘grounded’ to this day. ‘That photo

– a round trip of over 100 kilometres – just to watch movies.

helped the woman find a husband. I can never forget

In 1957, Sukita visted Nagasaki Park and was photographed

that experience. I think it’s what gives me strength when

beside the statue of Ueno Hikoma, a pioneer of Japanese

I’m taking portraits.’

8

9

Masayoshi Sukita: Sound & Vision Campbell Gunn, Iconic Images

Masayoshi Sukita was born on May 5th 1938 in the coal-

photography who was born in the city in 1838 and taught

mining town of Nogata, Fukuoka Prefecture, which lies

many important photographers of the nineteenth century.

in the northern part of the southern Japanese island of Kyushu; he was the second son of father Taketomo and mother Mitsue. The family business was a hardware

In 1958, after twice failing to enter university, Sukita moved

and household goods store called Sukita-Shoten.

to Osaka and entered the Commercial Photography Department of Shasen, the Japan Institute of Photography and Film. A photograph of a deer skull and antlers, taken in

Family Group Portrait (Masayoshi Sukita far right), Nogata, Fukuoka, 1941

Sukita entered elementary school in 1945, but was

Nara, won first prize in the graduation exhibition. During

evacuated later that year to the nearby town of Uchigaso.

his Osaka years, Sukita spent more time in the cinema than

His father had been dispatched by the army to Shanxi

attending classes. He immersed himself in the French ‘New

Province, China, where he died two days after Japan’s

Wave’ movement, especially the films of Alain Resnais, and

surrender on August 17 1945. Sukita’s memories of his

the emerging ‘underground’ movements in the West.

th

father are limited. Yet he remembers the photographs his father sent home from China, including one of his Sukita beside a statue of Japanese photography pioneer Ueno Hikoma, Nagasaki, 1957

fellow soldiers bathing in an oil drum.

Upon graduation, Sukita became an assistant to the renowned commercial and landscape photographer Shisui Tanahashi, a founding member of the Spiegel

Shotengai Parade, Nogata, Fukuoka, 1956

In 1956, when Sukita was in his third year of high school,

Photographers Association and a significant contributor

he began to take an interest in photography. That summer,

to the post-war avant-garde photography movement

despite the family’s straitened finances, his mother gifted

in Japan. Tanahashi provided Sukita with a firm

him a Ricohflex camera. Sukita’s first (and his self-

grounding in photographic technique, while also

proclaimed most beautiful) photograph was, appropriately,

nurturing his creative talent: ‘Tanahashi mostly took

a portrait of his mother in Bon Odori festival garb.

photos that were considered artistic, so as I was starting my career, I was able to gain fundamental experience in pure photography with this great master.’

After the end of the American occupation in 1952, American popular culture swept through Japan. Sukita’s

Dormitory of the Japanese Institute of Photography & Film, Osaka, 1958

Entrance to the Japanese Institute of Photography & Film, Osaka, 1958

grandmother and uncle often took him to the theatre and

While working in Tanahashi’s studio, he was assigned to

cinema. Sukita’s passions became jazz, rock ’n’ roll and

photograph a young woman entering into an arranged

Western movies – as reflected in his cinema screenshots of

marriage, who needed a portrait to show to her future

Marlon Brando in The Wild One and James Dean in East of

husband. Sukita remembers this first portrait session,

Eden. On two occasions he cycled from Nogata to Fukuoka

which keeps him ‘grounded’ to this day. ‘That photo

– a round trip of over 100 kilometres – just to watch movies.

helped the woman find a husband. I can never forget

In 1957, Sukita visted Nagasaki Park and was photographed

that experience. I think it’s what gives me strength when

beside the statue of Ueno Hikoma, a pioneer of Japanese

I’m taking portraits.’

10

11

From 1961 to 1964, Sukita worked in the photography

collaboration continued the following year in Tokyo

worldwide re-release of Bowie’s third album, The Man

session with Bowie, which proved to be the beginning of

department of the Daiko Advertising company in Osaka.

when Sukita acted as cinematographer on Terayama’s

Who Sold the World. Sukita immediately bought tickets

a forty-year collaboration. Bowie’s fascination with Japan

In 1963, his photograph of the Japanese-Spanish singer I.

second full-length feature film, Throw Away Your Books,

for that coming Saturday’s ‘Save the Whale’ charity

(influenced by his early mentor, Lindsay Kemp) mirrored

George won the Japan Advertising Photographers’

Rally in the Streets, which won the Grand Prize at the

concert at the Royal Festival Hall, headlined by Bowie

Sukita’s interest in all things Western. One of the close-ups

Association Chairman’s Award. In his free time, Sukita

1971 San Remo Film Festival. In 1974, Terayama and

and Lou Reed. Surprisingly, he did so without a camera.

from the shoot became a giant poster in the foyer of the

photographed visiting jazz musicians in concert and travelled

Sukita produced the picture book Blue Women Theory.

Nevertheless, he was taken aback – ‘It was completely

Rainbow Theatre, London, for the concerts Bowie played

to Nagasaki, in western Kyushu, to photograph hibakusha

new, innovative, extraordinary and incredible; it had

on the 19th and 20th August. As Sukita later commented,

– survivors of the atomic bombing of August 6th 1945.

a profound effect on me. One of the reasons why I

‘I was very pleased, as it proved that David really did like

In 1972, Sukita visited London for the first time. He

was so inspired by seeing David for the first time was

my work, and that was very important to me.’

travelled with Japan’s first professional stylist, Yasuko

because he is not just a musician. He is also an artist

In 1965, Sukita moved to Tokyo and joined Delta Monde

‘Yacco’ Takahashi, who worked in the same central

and performer in the “underground” area. The way he

Production, filming television commercials and working

apartment complex in Harajuku, Tokyo. This building,

acted on stage, his physical movement and “expression

The Japanese fashion magazine an-an published some

with fashion and cosmetics companies on advertising

along with the Café Leon on the ground floor, was

corporelle” were very different from other artists.’

of the images from the shoot to a hugely positive reader

campaigns. His Magritte-inspired work for the men’s

home to Japan’s emerging fashion, design, music and

response, leading Sukita to believe that Bowie would

fashion brand JAZZ provided him with a portfolio of

advertising scene. The previous year, Yacco had assisted

have a lasting influence in Japanese society. Sukita also

work that he later showed to both T. Rex and David

fashion designer Kansai Yamamoto in the production of

The following week, Sukita and Yacco approached

photographed Bowie at the Rainbow Theatre, including

Bowie. Sukita also continued to document important

the first overseas fashion show by a Japanese designer,

Bowie’s manager, Tony Defries, to arrange a photo

the famous ‘Backstage by Door’ image (see page 68).

contemporary social issues, photographing the grassroots

held at the Great Gear Trading Company on King’s

session. Despite Defries previously restricting Bowie’s

campaign against the entry of US nuclear-powered

Road, London. During that time, Yacco met and

photographers to just Mick Rock and Leee Black Childers,

submarines into the US naval base at Sasebo, Kyushu.

befriended ‘glam-rock’ pioneer Chelita Secunda and her

Rock and Bowie liked Sukita’s JAZZ portfolio, and a

In early February 1973, Sukita and Yacco travelled to

former husband, Tony Secunda, who were, respectively,

photo session was agreed. Sukita’s timing was fortuitous,

New York for a photo session in RCA’s Studio A on

arranging public relations for and managing the rock

as Bowie was planning a tour of Japan in 1973. The two-

East 24th Street, ahead of the opening of Bowie’s US

group T. Rex and its leader, Marc Bolan.

hour shoot took place on 13th July 1972 in a studio rented

tour. Yacco brought over several Kansai Yamamoto

from Japanese photographer, Hiroshi Yoda.

costumes, which looked ‘marvellous’ on David, as Sukita

In 1970, Sukita became a freelance photographer, married his wife, Hiroko, and went to New York looking for work. He explored the emerging artistic movement centred around

recalls, especially against the red backdrop Sukita used

Andy Warhol, saw Lou Reed and the Velvet Underground

With Yacco’s help, Sukita successfully pitched Tony

at Max’s Kansas City, and, on July 17th, photographed

Secunda (who was renowned for breaking music promotion

Coincidentally, Yoda had photographed the designs from

York to attend the opening night. Backstage after the

Jimi Hendrix at Downing Stadium, Randall’s Island, on

boundaries) for a photo session with Marc Bolan and

Kansai Yamamoto’s London show for the July 1971 issue

show, Yamamoto met David Bowie for the first time. He

what was to be the guitarist’s final US tour.

percussionist Mickey Finn. The four-hour shoot took place

of Harpers & Queen. Yoda’s photograph of model Marie

presented him with five new custom-made outfits, which

in Pelling + Cross Studios in London on 30th June 1972.

Helvin wearing a flame-red lion kabuki dance wig, designed

were to form the core of Bowie’s Aladdin Sane wardrobe.

Despite Sukita’s lack of experience in photographing

by Sachiko Shibayama, would later inspire Bowie’s Ziggy

‘It was the first real connection between a designer and

While visiting Warhol’s Factory, Sukita met Japan’s

musicians, the session produced some of the genre’s most

Stardust hairstyle, which was created by Suzi Fussey (later

a rock star,’ Bowie was later to recall.

post-war ‘enfant terrible’ Shuji Terayama – a prolific

enduring images, a selection of which featured in a July

Suzi Ronson). Bowie referenced this influence in his lyrics:

writer, poet, dramatist and film director, and a leading

edition of Melody Maker magazine. For the next six months,

‘Ziggy really sang / Screwed-up eyes and screwed-down

member of the late ’60s ‘runaway’ movement. Terayama

Sukita was to photograph T. Rex in London, Paris, Boston,

hairdo / Like some cat from Japan.’ ‘Ziggy’ had also

Bowie sailed into Yokohama on 5th April to begin his

had founded the Tenjo Sajiki underground theatrical

New York, and, finally, on their trip to Tokyo for the T. Rex

started shaving his eyebrows, emulating Kansai’s models,

first Japanese tour. Sukita felt that Bowie’s arrival in the

troupe in 1967 and was making his American directorial

Exhibition and live performances at the Budokan.

and purchased one of Kansai’s androgynous ‘Woodland

port city had echoes of Commodore Perry’s incursions

Creatures’ outfits, which had appeared in the 1971 show.

into Tokyo Bay in the 1850s. These events opened Japan

debut at New York’s La MaMa Experimental Theater

for the shoot. Yacco advised Yamamoto to fly to New

Club. Terayama’s play Kegawa no Marii, or La Marie

to the West after 214 years of self-imposed isolation.

Vison, used Japanese and American actors and highly

Walking around London after the T. Rex session, Sukita

original staging. Terayama asked Sukita to photograph

saw a poster of photographer Brain Ward’s ‘kick’ image

Despite the nine-year age difference and the lack of a

Kansai designed nine new outfits for the tour, based on

the production, the actors, and Terayama himself. Their

of David Bowie, which later became the cover for the

common language, Sukita felt very relaxed during his

traditional Noh drama costumes.

Sukita acted as the official tour photographer and

10

11

From 1961 to 1964, Sukita worked in the photography

collaboration continued the following year in Tokyo

worldwide re-release of Bowie’s third album, The Man

session with Bowie, which proved to be the beginning of

department of the Daiko Advertising company in Osaka.

when Sukita acted as cinematographer on Terayama’s

Who Sold the World. Sukita immediately bought tickets

a forty-year collaboration. Bowie’s fascination with Japan

In 1963, his photograph of the Japanese-Spanish singer I.

second full-length feature film, Throw Away Your Books,

for that coming Saturday’s ‘Save the Whale’ charity

(influenced by his early mentor, Lindsay Kemp) mirrored

George won the Japan Advertising Photographers’

Rally in the Streets, which won the Grand Prize at the

concert at the Royal Festival Hall, headlined by Bowie

Sukita’s interest in all things Western. One of the close-ups

Association Chairman’s Award. In his free time, Sukita

1971 San Remo Film Festival. In 1974, Terayama and

and Lou Reed. Surprisingly, he did so without a camera.

from the shoot became a giant poster in the foyer of the

photographed visiting jazz musicians in concert and travelled

Sukita produced the picture book Blue Women Theory.

Nevertheless, he was taken aback – ‘It was completely

Rainbow Theatre, London, for the concerts Bowie played

to Nagasaki, in western Kyushu, to photograph hibakusha

new, innovative, extraordinary and incredible; it had

on the 19th and 20th August. As Sukita later commented,

– survivors of the atomic bombing of August 6th 1945.

a profound effect on me. One of the reasons why I

‘I was very pleased, as it proved that David really did like

In 1972, Sukita visited London for the first time. He

was so inspired by seeing David for the first time was

my work, and that was very important to me.’

travelled with Japan’s first professional stylist, Yasuko

because he is not just a musician. He is also an artist

In 1965, Sukita moved to Tokyo and joined Delta Monde

‘Yacco’ Takahashi, who worked in the same central

and performer in the “underground” area. The way he

Production, filming television commercials and working

apartment complex in Harajuku, Tokyo. This building,

acted on stage, his physical movement and “expression

The Japanese fashion magazine an-an published some

with fashion and cosmetics companies on advertising

along with the Café Leon on the ground floor, was

corporelle” were very different from other artists.’

of the images from the shoot to a hugely positive reader

campaigns. His Magritte-inspired work for the men’s

home to Japan’s emerging fashion, design, music and

response, leading Sukita to believe that Bowie would

fashion brand JAZZ provided him with a portfolio of

advertising scene. The previous year, Yacco had assisted

have a lasting influence in Japanese society. Sukita also

work that he later showed to both T. Rex and David

fashion designer Kansai Yamamoto in the production of

The following week, Sukita and Yacco approached

photographed Bowie at the Rainbow Theatre, including

Bowie. Sukita also continued to document important

the first overseas fashion show by a Japanese designer,

Bowie’s manager, Tony Defries, to arrange a photo

the famous ‘Backstage by Door’ image (see page 68).

contemporary social issues, photographing the grassroots

held at the Great Gear Trading Company on King’s

session. Despite Defries previously restricting Bowie’s

campaign against the entry of US nuclear-powered

Road, London. During that time, Yacco met and

photographers to just Mick Rock and Leee Black Childers,

submarines into the US naval base at Sasebo, Kyushu.

befriended ‘glam-rock’ pioneer Chelita Secunda and her

Rock and Bowie liked Sukita’s JAZZ portfolio, and a

In early February 1973, Sukita and Yacco travelled to

former husband, Tony Secunda, who were, respectively,

photo session was agreed. Sukita’s timing was fortuitous,

New York for a photo session in RCA’s Studio A on

arranging public relations for and managing the rock

as Bowie was planning a tour of Japan in 1973. The two-

East 24th Street, ahead of the opening of Bowie’s US

group T. Rex and its leader, Marc Bolan.

hour shoot took place on 13th July 1972 in a studio rented

tour. Yacco brought over several Kansai Yamamoto

from Japanese photographer, Hiroshi Yoda.

costumes, which looked ‘marvellous’ on David, as Sukita

In 1970, Sukita became a freelance photographer, married his wife, Hiroko, and went to New York looking for work. He explored the emerging artistic movement centred around

recalls, especially against the red backdrop Sukita used

Andy Warhol, saw Lou Reed and the Velvet Underground

With Yacco’s help, Sukita successfully pitched Tony

at Max’s Kansas City, and, on July 17th, photographed

Secunda (who was renowned for breaking music promotion

Coincidentally, Yoda had photographed the designs from

York to attend the opening night. Backstage after the

Jimi Hendrix at Downing Stadium, Randall’s Island, on

boundaries) for a photo session with Marc Bolan and

Kansai Yamamoto’s London show for the July 1971 issue

show, Yamamoto met David Bowie for the first time. He

what was to be the guitarist’s final US tour.

percussionist Mickey Finn. The four-hour shoot took place

of Harpers & Queen. Yoda’s photograph of model Marie

presented him with five new custom-made outfits, which

in Pelling + Cross Studios in London on 30th June 1972.

Helvin wearing a flame-red lion kabuki dance wig, designed

were to form the core of Bowie’s Aladdin Sane wardrobe.

Despite Sukita’s lack of experience in photographing

by Sachiko Shibayama, would later inspire Bowie’s Ziggy

‘It was the first real connection between a designer and

While visiting Warhol’s Factory, Sukita met Japan’s

musicians, the session produced some of the genre’s most

Stardust hairstyle, which was created by Suzi Fussey (later

a rock star,’ Bowie was later to recall.

post-war ‘enfant terrible’ Shuji Terayama – a prolific

enduring images, a selection of which featured in a July

Suzi Ronson). Bowie referenced this influence in his lyrics:

writer, poet, dramatist and film director, and a leading

edition of Melody Maker magazine. For the next six months,

‘Ziggy really sang / Screwed-up eyes and screwed-down

member of the late ’60s ‘runaway’ movement. Terayama

Sukita was to photograph T. Rex in London, Paris, Boston,

hairdo / Like some cat from Japan.’ ‘Ziggy’ had also

Bowie sailed into Yokohama on 5th April to begin his

had founded the Tenjo Sajiki underground theatrical

New York, and, finally, on their trip to Tokyo for the T. Rex

started shaving his eyebrows, emulating Kansai’s models,

first Japanese tour. Sukita felt that Bowie’s arrival in the

troupe in 1967 and was making his American directorial

Exhibition and live performances at the Budokan.

and purchased one of Kansai’s androgynous ‘Woodland

port city had echoes of Commodore Perry’s incursions

Creatures’ outfits, which had appeared in the 1971 show.

into Tokyo Bay in the 1850s. These events opened Japan

debut at New York’s La MaMa Experimental Theater

for the shoot. Yacco advised Yamamoto to fly to New

Club. Terayama’s play Kegawa no Marii, or La Marie

to the West after 214 years of self-imposed isolation.

Vison, used Japanese and American actors and highly

Walking around London after the T. Rex session, Sukita

original staging. Terayama asked Sukita to photograph

saw a poster of photographer Brain Ward’s ‘kick’ image

Despite the nine-year age difference and the lack of a

Kansai designed nine new outfits for the tour, based on

the production, the actors, and Terayama himself. Their

of David Bowie, which later became the cover for the

common language, Sukita felt very relaxed during his

traditional Noh drama costumes.

Sukita acted as the official tour photographer and

12

13

Sukita’s work with David Bowie established his reputation

It was voted 1977’s Cover of the Year in a Melody Maker

as Japan’s leading rock photographer. His fashion work

poll. In 2013 (to Sukita’s surprise), the image was reused

diminished as a result. Sukita’s first association with

in Jonathan Barnbrook’s design for the cover of Bowie’s

Japanese musicians was the cover of the Sadistic Mika

penultimate album, The Next Day, hidden behind a white

Band’s second album, Kurofune, which was released in

square box. In 2014, Bowie again paid homage to the

1974 and was produced by Chris Thomas. Later in the

work in an Instagram post in which he replicated the

decade, Sukita worked extensively with Yellow Magic

pose in a Daft Punk helmet. Although Sukita remains

Orchestra, accompanying them on their first world tour.

very proud of the image, he felt that after the session, it was time to move on. ‘It became an immediate classic, an eternal image like the album. But, for me, once that

In April 1977, David Bowie and Iggy Pop visited Japan

photo was taken, it already belonged to the past.’

Filming ‘Throw Away Your Books, Rally in the Streets’, Shinjuku, New York, 1970 Tokyo, 1971

to promote Iggy’s debut solo album The Idiot, which Bowie had produced. As neither musician had concert engagements, Sukita suggested an impromptu photo

With punk rock then emerging in the UK, Sukita returned

session. Bowie asked Yacco to find several black leather

to London to shoot around the Vivienne Westwood

jackets, which she rented for the day. Sukita was able

boutique on King’s Road. He captured several up-and-

to borrow a tiny studio in Harajuku. He shot both

coming artists and bands, including The Stranglers, Adam

musicians for one hour each, using a door frame in the

Ant, Tom Robinson, Throbbing Gristle and Elvis Costello.

foreground to provide a rougher ‘feel’. For his session, Iggy Pop brought some wooden geta to mimic Tora-san, a famous Japanese film character, having watched one

Bowie toured Japan again in December 1978, and

of his films on the plane over.

spent the next month in Kyoto with his son, although Sukita was only able to photograph him in concert. In

With Cyndi Lauper, New York, 1987

With Marc Bolan and Mickey Finn, Pelling+Cross studio, London, 1972

March 1980, Bowie returned to Kyoto, accompanied Of the twenty images Sukita sent to Berlin for review,

by his long-time assistant Coco Schwab, to shoot two

Bowie chose Sukita’s favourite, marked with a red dot,

television commercials for the shōchū company Takara

as the cover of his forthcoming album, Heroes. With that

Shuzo. In between work, Sukita and Yacco arranged

selection, Sukita believed ‘my work had become part of

impromptu photo sessions at Bowie’s ryokan, walking

his. That choice brought us together even more than

around Kyoto’s streets and markets, riding the subway,

before, and united us during a time of change in both our

and visiting clubs and bars incognito.

careers.’ Bowie’s unusual pose referenced the angular With Joe Strummer, Memphis, USA, 1989. © Mark Higashino

gestures of German painter Erich Heckel’s Young Man print of 1910, and his 1917 painting Roquairol (which

The early 1980s were a prolific time for Sukita. He

also inspired the cover image of Iggy’s The Idiot, shot

worked with both Japanese and Western rock and jazz

by Andy Kent). The Heroes session changed Sukita’s

musicians, including Madness, Culture Club, David

approach to portraiture. He now prefers to let his

Byrne, Cyndi Lauper, Adrian Belew, David Sylvian,

subjects adopt poses and gestures by themselves, while

Billy Joel, Ron Carter, Ray Charles, Minako Yoshida,

keenly observing their ‘worldview’.

Masami Tsuchiya, Sheena & The Rokkets and Kenji Sawada. He also continued to work with David Bowie on the 1983 Serious Moonlight Japan tour, and at the end of

The Heroes cover image was to join the Aladdin Sane

the decade, he took the cover images for the eponymous

cover image as one of rock’s most iconic photographs.

debut album of Bowie’s short-lived band Tin Machine.

With David Bowie and Iggy Pop, Haneda Airport, Tokyo, 1977

Sukita is a master photographer. No one has been able to capture – posed or un-posed – his subjects the way he has. From studio to stage, street to set – his body of work is unmatched. No one broke the barriers as much as Sukita.

– Terry O’Neill

With Terry O’Neill, Iconic Images Gallery, London, 2018

12

13

Sukita’s work with David Bowie established his reputation

It was voted 1977’s Cover of the Year in a Melody Maker

as Japan’s leading rock photographer. His fashion work

poll. In 2013 (to Sukita’s surprise), the image was reused

diminished as a result. Sukita’s first association with

in Jonathan Barnbrook’s design for the cover of Bowie’s

Japanese musicians was the cover of the Sadistic Mika

penultimate album, The Next Day, hidden behind a white

Band’s second album, Kurofune, which was released in

square box. In 2014, Bowie again paid homage to the

1974 and was produced by Chris Thomas. Later in the

work in an Instagram post in which he replicated the

decade, Sukita worked extensively with Yellow Magic

pose in a Daft Punk helmet. Although Sukita remains

Orchestra, accompanying them on their first world tour.

very proud of the image, he felt that after the session, it was time to move on. ‘It became an immediate classic, an eternal image like the album. But, for me, once that

In April 1977, David Bowie and Iggy Pop visited Japan

photo was taken, it already belonged to the past.’

Filming ‘Throw Away Your Books, Rally in the Streets’, Shinjuku, New York, 1970 Tokyo, 1971

to promote Iggy’s debut solo album The Idiot, which Bowie had produced. As neither musician had concert engagements, Sukita suggested an impromptu photo

With punk rock then emerging in the UK, Sukita returned

session. Bowie asked Yacco to find several black leather

to London to shoot around the Vivienne Westwood

jackets, which she rented for the day. Sukita was able

boutique on King’s Road. He captured several up-and-

to borrow a tiny studio in Harajuku. He shot both

coming artists and bands, including The Stranglers, Adam

musicians for one hour each, using a door frame in the

Ant, Tom Robinson, Throbbing Gristle and Elvis Costello.

foreground to provide a rougher ‘feel’. For his session, Iggy Pop brought some wooden geta to mimic Tora-san, a famous Japanese film character, having watched one

Bowie toured Japan again in December 1978, and

of his films on the plane over.

spent the next month in Kyoto with his son, although Sukita was only able to photograph him in concert. In

With Cyndi Lauper, New York, 1987

With Marc Bolan and Mickey Finn, Pelling+Cross studio, London, 1972

March 1980, Bowie returned to Kyoto, accompanied Of the twenty images Sukita sent to Berlin for review,

by his long-time assistant Coco Schwab, to shoot two

Bowie chose Sukita’s favourite, marked with a red dot,

television commercials for the shōchū company Takara

as the cover of his forthcoming album, Heroes. With that

Shuzo. In between work, Sukita and Yacco arranged

selection, Sukita believed ‘my work had become part of

impromptu photo sessions at Bowie’s ryokan, walking

his. That choice brought us together even more than

around Kyoto’s streets and markets, riding the subway,

before, and united us during a time of change in both our

and visiting clubs and bars incognito.

careers.’ Bowie’s unusual pose referenced the angular With Joe Strummer, Memphis, USA, 1989. © Mark Higashino

gestures of German painter Erich Heckel’s Young Man print of 1910, and his 1917 painting Roquairol (which

The early 1980s were a prolific time for Sukita. He

also inspired the cover image of Iggy’s The Idiot, shot

worked with both Japanese and Western rock and jazz

by Andy Kent). The Heroes session changed Sukita’s

musicians, including Madness, Culture Club, David

approach to portraiture. He now prefers to let his

Byrne, Cyndi Lauper, Adrian Belew, David Sylvian,

subjects adopt poses and gestures by themselves, while

Billy Joel, Ron Carter, Ray Charles, Minako Yoshida,

keenly observing their ‘worldview’.

Masami Tsuchiya, Sheena & The Rokkets and Kenji Sawada. He also continued to work with David Bowie on the 1983 Serious Moonlight Japan tour, and at the end of

The Heroes cover image was to join the Aladdin Sane

the decade, he took the cover images for the eponymous

cover image as one of rock’s most iconic photographs.

debut album of Bowie’s short-lived band Tin Machine.

With David Bowie and Iggy Pop, Haneda Airport, Tokyo, 1977

Sukita is a master photographer. No one has been able to capture – posed or un-posed – his subjects the way he has. From studio to stage, street to set – his body of work is unmatched. No one broke the barriers as much as Sukita.

– Terry O’Neill

With Terry O’Neill, Iconic Images Gallery, London, 2018

14

15

Returning to video work in 1984, Sukita directed a short

first guitar when he saw it placed directly below Sukita’s

horror film called Gakidama/Ghost Soul. The following

famous image of an ecstatic Marc Bolan striking a chord.

year he collaborated with the renowned art director

As Sukita states: ‘I much prefer to know the newer artists

Eiko Ishioka on Paul Schrader’s controversial film

and keep taking their photo as they become bigger in

Mishima: A Life in Four Chapters, co-produced by Francis

the industry. I like to watch their evolution. I want to

Ford Coppola and George Lucas. Sukita joined Ishioka

take the steps together with the artists, to bear witness.’

in California and New York to take production stills, and shot her elaborate film sets on location in Tokyo.

With framed photos of The Beatles and a self-portrait given to Sukita by Astrid Kirchherr, Blitz Gallery, Tokyo, 2020

During the visit to New York, Sukita saw Jim Jarmusch’s Stranger Than Paradise, which impressed him enough that he tried to contact the director. These solicitations

David Bowie stamp (Royal Mail) featuring Sukita’s ‘Heroes’ album cover, 2017

eventually resulted in Sukita becoming the stills photographer for Jarmusch’s third feature film, Mystery Train, in 1989 – the first American independent film to be financed by the Japan Victor Company (JVC). As Sukita recalls, ‘Jarmusch’s “road-movie” style – very tight, limited budget – fit my style very well.’ Seventy of Sukita’s stills

With Hirokazu Kore-eda on the set of ‘Hana’, Toei Kyoto Studio Park, Kyoto, 2005

exhibition Who Shot Rock & Roll: A Photographic History.

Over the last decade, Sukita’s work has been shown widely in Europe, Australia and the United States, and

from the film set images were published by JVC that year

In the last twenty years, Sukita has worked with a

his images featured prominently in the Victoria and

in the book MYSTERY TRAIN: A Film by JIM JARMUSCH

new generation of Japanese artists, including Miyavi

Albert Museum’s David Bowie IS exhibition. To Sukita’s

(Shin Yamamoto, 1989). On the set, Sukita befriended

and Sugizo, publishing collaborative photo books with

surprise, one of the photos from the 1973 RCA session

cinematographer Robby Müller: ‘We were both the

each. Other publications include T. REX 1972 SUKITA

with Bowie was featured in the closing ceremony for

same age, and we are both photographers, so there were

(Color Field Publications, 2007), Yellow Magic Orchestra X

the 2012 London Olympics, in a montage set to ‘A

many things to learn and to share, particularly in terms

SUKITA (Tokyo FM Books, 2010), and his retrospective

Symphony of British Music’. More recently, Sukita’s

of experimenting with lighting. Robby helped me develop

collection SOUND & VISION (Parco, 2012), published

Heroes cover image was chosen as one of six album covers

my technique, particularly when photographing David

in Japan in 2012, the title referencing a Bowie song from

that the UK’s Royal Mail issued as commemorative

in concert, as he is also very concerned with lighting.’

the album Low. SOUND & VISION exhibitions were

stamps in 2017 – the first time an entire issue of stamps

Sukita later shot cinema stills for After Life (1998, known as

also held in August at the Tokyo Metropolitan Museum

has featured an individual cultural figure.

Wonderful Life in Japan) and Hana – the Tale of a Reluctant

of Photography, and Shibuya Parco Museum, Tokyo.

With the framed photo of Paul McCartney given to Sukita by Linda McCartney, Sukita’s office, Tokyo, 2005

Samurai (2005), both directed by Palme d’Or winner and Oscar nominee Hirokazu Kore-eda. Sukita likens his movie stills to ‘one-shot documentaries of a fictional world’.

Over the years, Sukita has befriended and swapped Sukita’s collaboration with David Bowie continued in

work with many other photographers of the music

visit to Oita, in his home island of Kyushu: ‘My interests

2002 with a promotional shoot for Sony Music. Their

scene, including Linda McCartney, Guido Harari,

are constantly evolving. Nature is luxuriant there, so

last session was held in New York in 2009. Finally, in

Ross Halfin, Astrid Kirchherr, Terry O’Neill, and

I started taking landscape pictures. I’m particularly

In 1992, Sukita travelled with the late Kiyoshiro

2012, Sukita and Bowie released a limited-edition co-

David Godlis. He has built an impressive collection of

interested in water. In Japan, we recently had a terrible

Imawano, Japan’s ‘King of Rock’, to Memphis, Chicago,

signed photo book, Speed of Life: David Bowie & Masayoshi

rock photographs.

tsunami that devasted many areas and killed many

New Orleans and New York. They shot promotional

Sukita (Genesis Publications).

people, so I started considering the different aspects of

material and the cover for Imawano’s album Memphis.

water. Water can be both terrifying and relaxing. I’m

The 1990s saw Sukita work with several newer Japanese

Beyond his recent work in music and the cinema, Sukita’s

fascinated by its multiple aspects.’ At that time, Sukita

musicians, including Blankey Jet City, Kyosuke Himuro

In 2009, several of Sukita’s images were selected by

vision has encompassed the documentary themes

revisited his very first image of his mother, recreating

and Tomoyasu Hotei. As a student, Hotei purchased his

curator Gail Buckland for the Brooklyn Museum

pursued in his early work. As he comments on a recent

the picture with his niece as the subject.

14

15

Returning to video work in 1984, Sukita directed a short

first guitar when he saw it placed directly below Sukita’s

horror film called Gakidama/Ghost Soul. The following

famous image of an ecstatic Marc Bolan striking a chord.

year he collaborated with the renowned art director

As Sukita states: ‘I much prefer to know the newer artists

Eiko Ishioka on Paul Schrader’s controversial film

and keep taking their photo as they become bigger in

Mishima: A Life in Four Chapters, co-produced by Francis

the industry. I like to watch their evolution. I want to

Ford Coppola and George Lucas. Sukita joined Ishioka

take the steps together with the artists, to bear witness.’

in California and New York to take production stills, and shot her elaborate film sets on location in Tokyo.

With framed photos of The Beatles and a self-portrait given to Sukita by Astrid Kirchherr, Blitz Gallery, Tokyo, 2020

During the visit to New York, Sukita saw Jim Jarmusch’s Stranger Than Paradise, which impressed him enough that he tried to contact the director. These solicitations

David Bowie stamp (Royal Mail) featuring Sukita’s ‘Heroes’ album cover, 2017

eventually resulted in Sukita becoming the stills photographer for Jarmusch’s third feature film, Mystery Train, in 1989 – the first American independent film to be financed by the Japan Victor Company (JVC). As Sukita recalls, ‘Jarmusch’s “road-movie” style – very tight, limited budget – fit my style very well.’ Seventy of Sukita’s stills

With Hirokazu Kore-eda on the set of ‘Hana’, Toei Kyoto Studio Park, Kyoto, 2005

exhibition Who Shot Rock & Roll: A Photographic History.

Over the last decade, Sukita’s work has been shown widely in Europe, Australia and the United States, and

from the film set images were published by JVC that year

In the last twenty years, Sukita has worked with a

his images featured prominently in the Victoria and

in the book MYSTERY TRAIN: A Film by JIM JARMUSCH

new generation of Japanese artists, including Miyavi

Albert Museum’s David Bowie IS exhibition. To Sukita’s

(Shin Yamamoto, 1989). On the set, Sukita befriended

and Sugizo, publishing collaborative photo books with

surprise, one of the photos from the 1973 RCA session

cinematographer Robby Müller: ‘We were both the

each. Other publications include T. REX 1972 SUKITA

with Bowie was featured in the closing ceremony for

same age, and we are both photographers, so there were

(Color Field Publications, 2007), Yellow Magic Orchestra X

the 2012 London Olympics, in a montage set to ‘A

many things to learn and to share, particularly in terms

SUKITA (Tokyo FM Books, 2010), and his retrospective

Symphony of British Music’. More recently, Sukita’s

of experimenting with lighting. Robby helped me develop

collection SOUND & VISION (Parco, 2012), published

Heroes cover image was chosen as one of six album covers

my technique, particularly when photographing David

in Japan in 2012, the title referencing a Bowie song from

that the UK’s Royal Mail issued as commemorative

in concert, as he is also very concerned with lighting.’

the album Low. SOUND & VISION exhibitions were

stamps in 2017 – the first time an entire issue of stamps

Sukita later shot cinema stills for After Life (1998, known as

also held in August at the Tokyo Metropolitan Museum

has featured an individual cultural figure.

Wonderful Life in Japan) and Hana – the Tale of a Reluctant

of Photography, and Shibuya Parco Museum, Tokyo.

With the framed photo of Paul McCartney given to Sukita by Linda McCartney, Sukita’s office, Tokyo, 2005

Samurai (2005), both directed by Palme d’Or winner and Oscar nominee Hirokazu Kore-eda. Sukita likens his movie stills to ‘one-shot documentaries of a fictional world’.

Over the years, Sukita has befriended and swapped Sukita’s collaboration with David Bowie continued in

work with many other photographers of the music

visit to Oita, in his home island of Kyushu: ‘My interests

2002 with a promotional shoot for Sony Music. Their

scene, including Linda McCartney, Guido Harari,

are constantly evolving. Nature is luxuriant there, so

last session was held in New York in 2009. Finally, in

Ross Halfin, Astrid Kirchherr, Terry O’Neill, and

I started taking landscape pictures. I’m particularly

In 1992, Sukita travelled with the late Kiyoshiro

2012, Sukita and Bowie released a limited-edition co-

David Godlis. He has built an impressive collection of

interested in water. In Japan, we recently had a terrible

Imawano, Japan’s ‘King of Rock’, to Memphis, Chicago,

signed photo book, Speed of Life: David Bowie & Masayoshi

rock photographs.

tsunami that devasted many areas and killed many

New Orleans and New York. They shot promotional

Sukita (Genesis Publications).

people, so I started considering the different aspects of

material and the cover for Imawano’s album Memphis.

water. Water can be both terrifying and relaxing. I’m

The 1990s saw Sukita work with several newer Japanese

Beyond his recent work in music and the cinema, Sukita’s

fascinated by its multiple aspects.’ At that time, Sukita

musicians, including Blankey Jet City, Kyosuke Himuro

In 2009, several of Sukita’s images were selected by

vision has encompassed the documentary themes

revisited his very first image of his mother, recreating

and Tomoyasu Hotei. As a student, Hotei purchased his

curator Gail Buckland for the Brooklyn Museum

pursued in his early work. As he comments on a recent

the picture with his niece as the subject.

16

17

E

A

W

R

O

L

R

Y

K

As a professional photographer, I believe that the importance of photography lies in its capacity to send a message to others, so the photographer should be responsible not only for the picture he or she takes but also for the way it is presented.

– Masayoshi Sukita

Ever since I was young, I always wanted to take photos that would bear witness to what was happening in the world.

– Masayoshi Sukita

My father had died in the war and my mother was on her own, facing many economic difficulties raising her children. Even so, I asked her if she would buy me a camera. We were really poor, but I think she understood right from the beginning that I was not being a bratty teenager and she supported me. So, I owe everything to my mother, and the first photo I ever took was of her, which I still think is the most beautiful photo I have ever taken.

– Masayoshi Sukita After graduating from high school, having failed the university entrance exam, I attended a cram school for a year. My next-door neighbour was a young engineer working at the Nagasaki dockyards, and he had a passion for photography. On his bookshelves were issues of a photographic magazine he had collected over the years and I devoured them.

I spent more time getting to know photography than studying for the entrance exams and, as a result, I failed to pass for the second time.

– Masayoshi Sukita

16

17

E

A

W

R

O

L

R

Y

K

As a professional photographer, I believe that the importance of photography lies in its capacity to send a message to others, so the photographer should be responsible not only for the picture he or she takes but also for the way it is presented.

– Masayoshi Sukita

Ever since I was young, I always wanted to take photos that would bear witness to what was happening in the world.

– Masayoshi Sukita

My father had died in the war and my mother was on her own, facing many economic difficulties raising her children. Even so, I asked her if she would buy me a camera. We were really poor, but I think she understood right from the beginning that I was not being a bratty teenager and she supported me. So, I owe everything to my mother, and the first photo I ever took was of her, which I still think is the most beautiful photo I have ever taken.

– Masayoshi Sukita After graduating from high school, having failed the university entrance exam, I attended a cram school for a year. My next-door neighbour was a young engineer working at the Nagasaki dockyards, and he had a passion for photography. On his bookshelves were issues of a photographic magazine he had collected over the years and I devoured them.

I spent more time getting to know photography than studying for the entrance exams and, as a result, I failed to pass for the second time.

– Masayoshi Sukita

72

73

72

73

74

75

74

75

78

79

78

79

164

165

164

165

168

When Hotei was young, he saw my famous photo of Marc Bolan at his local music store – the one where he is holding his guitar, blasted by the wind with an expression of ecstasy. Hotei thought ‘how cool is that!’ and immediately bought the guitar that was underneath the poster and started learning how to play. He later told me that he decided that, when he turned forty himself, he would get the same photographer to take the same black and white portrait of him. In this way, one era flows into the next.

– Masayoshi Sukita

169

168

When Hotei was young, he saw my famous photo of Marc Bolan at his local music store – the one where he is holding his guitar, blasted by the wind with an expression of ecstasy. Hotei thought ‘how cool is that!’ and immediately bought the guitar that was underneath the poster and started learning how to play. He later told me that he decided that, when he turned forty himself, he would get the same photographer to take the same black and white portrait of him. In this way, one era flows into the next.

– Masayoshi Sukita

169

Sukita is a master photographer. No one has been able to capture — posed or un-posed — his subjects the way he has. From studio to stage, street to set — his body of work is unmatched. No one broke the barriers as much as Sukita.

– Terry O’Neill

Of all the photographers I have known, I trust Sukita the most.

– Iggy Pop

I would never have believed that Sukita-san had taken so many photographs over so many years.

From the early Ziggy shows, including the wellknown Rainbow concert in London, to the market trips in Tokyo, temples in Kyoto and even the subway adventures, it seems Sukita-san got them all.

– David Bowie

Sukita has the smell of rock about him.

– Joe Strummer

He is a true master of portrait and rock photography.

– Jim Jarmusch