Hiroshima Legacy Project: David Chao

Andrew D. McClees (ADM): For those unfamiliar with you, can you introduce yourself, and talk a little bit about your photowork and practice outside Hiroshima Road Trip and Instagram?

David Chao (DC): A little bit about me, I am David Chao and I am a half Japanese and half Chinese American born and raised between San Francisco and Kobe, Japan.

I studied Product Design in college, and photography became a big passion of mine on the side. I started off learning in the school darkroom in an intro photography class, and then spent 2 years serving as a lab assistant and teaching other students. Teaching others skills or knowledge I have is something I enjoy quite fondly, and today I still serve as an adjunct lecturer at Stanford in Design Research, essentially a class focused on how to do ethnographic design research.

I used to shoot digitally on the side quite a bit, but my love for photography emerged in 2016 when I took my first film photography class. Something about the physical tangibility of using chemicals and making prints with my hands turned me into a lover of film. I currently shoot 35mm, medium, and large format. For me each film type serves a different purpose, and I don’t particularly like one over the other. I feel I am still exploring all the different ways film and cameras can be used to capture what I love.

My projects, or more serious projects, have all revolved around shooting in Japan. For me the biggest aspect is being both an insider and outsider gives me a unique perspective. I spent years growing up culturally between Japan and the US, and so I know enough about the inner thinking and culture to recognize certain behaviors. But at the same time, I am very much American, and that gives me foresight into being able to view scenes or actions taken from an outsider’s perspective. This to me has made photography projects in Japan as one’s that feel like the most genuine.

I tend not to post my most important or favorite work on Instagram. The reason being is Instagram was always just a way for me to find like minded people who enjoyed photography, not as a medium to share it. Over time I have loved the community of people I have met.

ADM: What was the inspiration for the project?

DC: After graduating from Stanford University in 2018 with a degree in Engineering -Product Design, I set out to capture a project I titled the “Hiroshima Legacy Project”. Using a 4x5 View Camera the goal of this project was to document the people of smaller towns all around Hiroshima Prefecture. Given the urban migration and the aging population, lots of small towns and even small cities in Hiroshima prefecture are starting to slowly die out.

The inspiration for this project began in the summer of 2017, a day after my sister’s 12th birthday party, my grandmother Toshiko passed away in her home. Toshiko was born to Soichi and Kumayo Morimoto of Hiroshima on September 10, 1930 in Watsonville, California, where she grew up with her six siblings until World War II. In 1942, President Roosevelt issued Executive Order 9066, and the government imprisoned the Morimoto family, including teenaged Toshiko and her siblings, in concentration camps – first in Poston, Arizona, then in Tule Lake, California. After the war, the US government repatriated the Morimoto family to Hiroshima. In her memory, I wanted to create a photographic essay capturing stories and faces of Hiroshima.

Along the way she picked up a hobby of photography and always had a camera with her. One of the reasons I decided to take a film photography class at Stanford was to be able to share some common experiences with her and her passion for art in general. The summer before my senior year of college my grandmother had passed away after fighting illness for many years. Before she had passed, she rounded up lots of old film and gathered all the older film cameras she had collected. While many of them do not work, one of my favorite cameras of all time was a Yashica T4 Super Zoom.

While in the midst of going over my future, finishing up my degree in Engineering - Product Design, and applying for jobs, I began to formulate a year long project following my graduation from Stanford. The first stage of that project was creating a darkroom space/studio to promote the photographic arts. Whether it’s just with family and friends, or eventually something more open to the local SF community, I wanted to create a space in her memory. The second stage is this upcoming project to travel to the rural and countryside communities of Japan and capture them before they completely fade away.

ADM: I've noticed that all of the photos you post on instagram of the Road Trip are numbered of 360. What's the significance of 360?

DC: I shot 10 rolls of provia100f on the road trip casually, so these are really more works from me just having fun with photography.

The real work from the road trip was 4x5 portrait shots, which I have only posted infrequently and rarely actually on Instagram. I can send you that in person, as I think those would be more interesting to post.

ADM: Is the road trip part of or related to a bigger or different body of work you're working on?

DC: I think for me right now the biggest thing is I want to be able to document culture and people in a meaningful way. For me what I like to capture hopefully tells a story, and my goal is to make this a foundation for a bigger project in the future.

For myself the biggest lesson I learned is: I don’t know as much as I thought I did.

One, I want to continue to improve my technique as a photographer. I felt that there were moments where I was limited on how I could capture a scene based off inexperience.

Two, I want to learn how to connect with people better and be more assertive in the field. This is something that I have been getting experience with at work currently. I work at a design research firm and as part of projects we conduct 3 hour long ethnographic style in-home interviews. This is perfect training for being able to guide with the right level of authority, but also dig for information in order to create a great photograph. It’s a little unorthodox, but it is something I am excited to try and translate to other mediums in the future.

ADM: In the past you've posted historic or archival photos that your grandmother took -- I find them really fascinating. How did you get into that, and have you had any favorite images from those archives, and any that you find really interesting, historically?

DC: When my grandmother passed, one of the biggest projects was cleaning out her stuff. She was a massive hoarder, but we found all these beautiful prints she had just buried under boxes. She was an artist, so she did lots of painting and photography, so as a family initiative, we had all her stuff framed and archived properly.

My favorite is the 8x10 contact print of the Atomic Bomb Dome (原爆ド一ム) in the late 1950s by my grandmother Toshiko. This is a super old print from the 1950s so there is natural yellowing of the paper. My grandmother most likely took this photo in her mid 20s. Hiroshima was a very important place for my family as many relatives were lost to the bomb and following WWII internment in the US my grandmother’s family moved back to the rebuilding community in Hiroshima. I’ve been to the peace memorial on multiple occasions and my pictures of the dome definitely are nowhere near as good as this. I am 95% sure that a Large Format View Camera was used as the top of the dome is extremely sharp while the bottom loses some focus, which is usually attributed to Large Format Camera movements.

With the other prints I like from her collection, it's more about what the Japan she grew up with looked like. I love old and rustic prints because when you really think about them, the people in those scenes saw the world like we do today, in color and in HD. It’s just that the tools didn’t exist for us to be able to capture it like we can actually see it. So my attachment for me is just I love to close my eyes and just try and imagine what the world was like back then.

ADM: For those of us unfamiliar with Hiroshima, can you describe the area (culturally and topographically), and talk about what the documentation process was like?

DC: Hiroshima is a unique prefecture of Japan, and it is shaped by its unique relationship with both modern history and land.

There is historical significance of the main city of Hiroshima given the devastation of the Atomic Bomb during WWII. While often the scars of war haunt an area long after, Hiroshima instead stands as a beacon of world peace. The revitalization of the city was unprecedented, and the Hiroshima Peace Memorial stands as a pillar of hope. Unlike other Japanese cities, where there might be remnants of an older world, Hiroshima is truly a modern city given that it had to rebuild itself in a post WWII era.

There is also a significance given the wide variation of its topography. Hiroshima blends both its island like feel in the south, with fishing ports and local fishing, with its extreme monotonous terrains in the North. While many Japanese prefectures share a relationship between land and sea, what makes Hiroshima unique to me is the sheer contrast between the sea and the mountains. Thus, when exploring the area and to capture an accurate view of the prefecture, one as to open itself up to the idea of the broad reaching implications of such a wide topographic spread.

The documentation process was a mixture of thoughtful planning and spontaneous decisions. I would never plan more than 5-7 days out, as weather and new learnings would shape the next steps of the journey. As I started to map out my route, I initially was planning to also explore other prefectures to more depth, but ended up spending 80% of my time focused on Hiroshima. One of the really difficult balances I had to negotiate with myself was how much time could I spend just enjoy traveling to new places versus focuses on the project itself. I began to think of this trip more like I would a job. I have a couple of set outcomes that I wanted to see through, and was responsible to myself to complete, but there were also times to relax and enjoy a breather here and there.

Traveling with 30 boxes of 4x5 film is also not an easy task. The key to making it all work was to make sure to be organized and follow the same routine every night and morning. Before arriving to any lodging, the first thing I would so is make sure all my gear was organized. That means camera is put away, film tend is packed up, and anything I planned to leave in the car was covered up. I would carry three bags with me into the hotel, a duffle of clothes, my backpack carry my 4x5 View Camera, and a small bag carrying enough new film to change out. After check in, before even showering or washing up for dinner, I would change out any film I had shot and make sure all my gear was ready for the next day. While this routine and strictness might seem psychopathic, the reason why I maintained this so closely was because it led to minimal mistakes. And the minute the routine was finished, I could spend my evenings relaxing, reflecting, and recovering for the next day.

Loneliness is the greatest enemy when traveling alone. For those who haven’t traveled for great lengths of times by themselves, it is a feeling that you have to get used to. I had prior experience working on a research project alone for 10 weeks, which helped me cope with the extensive feelings of being isolated and without accompaniment. The cruelest person to yourself is yourself. There is moments of doubt that can creep into the sub-conscience. At the same time, traveling alone is a blessing. The freedom to be so engrossed in your own thoughts and be so disconnected from the world around you is hard to get. I tell people, the voice in your head can be both your friend and enemy, but it is all about how you frame it. I often can’t hear myself very loudly until I am alone for 2 weeks. Then the voice rings loud and clear, and allows for honest and open dialogue with oneself.

ADM: When you started the Hiroshima Legacy Project, did you find that your thesis or findings changed as you've gotten deeper into the project, did you have a thesis going in, or has the whole project been a strict document?

DC: The main premise for this process was to create a project that would help me not only connect back to my ancestral roots, but also create a meaningful project to explore and learn about cultural nuances. During this course of brainstorming I was torn by which direction I should move in, as I was fascinated by a couple different areas.

The first area I wanted to understand was the Akiya housing crisis that was taking place in the more rural regions of Japan. This was not only a point of interest based of research, I had made observations in many past trips to Japan that there seemed to be many abandoned homes not just in the country side, but also in the outer parts of cities. The second area I wanted to understand was what the daily life was like for people living the countryside of Japan. My conception of Japan had been limited to the confines of Osaka and Kobe. I heard stories of the countryside from my extended family, but I personally had never familiarized myself to it. I want to experience it on my own terms to gain empathy and understanding of what life was like in those regions. The third area was I wanted to just see Japan through new fresh eyes. Being so familiar with a place can numb you to the beauty that exists. I wanted to see Japan in a new light and framed this project as a way to do so.

Ultimately the outcomes of this project was flexible. I actually didn’t know if I wanted to capture photos of people or photos of the environment when I first started this project. It wasn’t until a fateful encounter of the very first day of the project that I had made up my mind about it. To give some context, I come from a background of human-centered design; essentially design framed through the lens of building empathy with others. One of the key concepts is this idea of doing proper need finding. Need finding focuses on design research and design planning. The premise is that by studying the world around us, we can get a better understanding of what people need, and use those insights to create meaningful ways to think about a concept differently. Need finding draws upon theory and methods from anthropology, psychology, engineering and design planning. Yet my intial concept of this project didn’t have speaking and talking with people be the central focus of the project. My failure in all of this was I was too cocky and thought that I had enough information to conduct a successful project without the bounds of getting to know others.

On the first day of the project I drove off into a ditch on a mountain road. This was totally 100% my fault for being naive about driving in Japan. One, the steering wheel was on the other side of the car. The second, mountain roads in Japan are narrow and tricky. I was distraught, in disbelief, and thought the project was going to end on the very first day. Luckily, right behind me was a mother who was on her way home from grocery shopping. She helped me call a tow truck and waited with me for over an hour until it arrived. We spoke about what life was like in Shiso and Hyogo Prefecture. It was during this conversation that I realized I was arrogant to think I could capture a place without understanding the people that lived there. Sure, I could take photos of trees and rivers that would print beautifully, but there would be no substance. Later that day, the very first photo of this project turned out to be a shot of a man working on his field in a tractor. He had on a SF giants baseball cap, and it turned out his daughter had moved to SF. He was so excited that he called her up and we spoke over the phone. I am not religious, but if there was a sign from God this was it. From then, I decided this project was going to be about people.

ADM: I know the goal of the Project was to document the current citizens and places of the prefecture, but did you end up documenting some of the effects of the population decline? if so, or if you want to speak on it, what did you find?

DC: The biggest learning I had throughout this project was the joy that people in these areas continue to have. I see the city culture of Japan to be depressing in many ways. The youth drink themselves in their sorrow and misery in the harsh working culture. In contrast, the countryside may be “dying off”, but the relationships people share with each other continue to be beacons of light in the area. I am not naive to ignore the fact that the population of the countryside and the towns are slowly fading away. In terms of population decline, I also shot many sheets of BW 4x5 film. These shots captured more of the sorrow and decline of the region. Many of these photos consist of abandoned homes, abandoned hotels, or even abandoned shops. The sad truth is that these areas are slowly disappearing, and the signs were prevalent wherever I went. I think part of my desire to continue to work on this project was to capture what would be lost before it is too late.

The effects of the decline I noticed that had me the most saddened was the effects it had on communities that once thrived. While of course the abandoned buildings and deserted homes were shocking to witness in person, it was more how empty many central community centers for towns felt. At the same time, I think adversity creates new bonds for people. For example, I spent many days stopping by old elementary schools that had transformed itself into community centers for the elderly. There people from the town would get together to exercise and enjoy each other’s social company. It was a reminder of the power of people and relationships, and will be a lesson I will continue to cherish.

ADM: Will the bigger project - the one you're about to embark on take the form of a book, or an exhibition? Also will the second stage be throughout all of Japan, or continue to focus on Hiroshima Prefecture?

DC: For me right now, I still am trying to figure out what I want to do with all of this work. I feel it is incomplete, and that is probably more to do with me being a perfectionist. I shot these incredible portraits with a 4x5 camera and color film, but I can always see room for improvement. I am still in the process of putting the work together into a more lasting medium. Right now my mind goes to hopefully creating a mini book to share out with people who are interested in it.

In terms of next steps for the project itself, part of my decision to work at a research design firm was to continue to improve my ability to connect with people. I realized that being able to build bridges during a conversation ultimately shaped the outcome of a photo. Where I work now we conduct 3 - 4 hour ethnographic style in home interviews. This is almost like the perfect training ground in order to hone this skill set.

I love photography and continue to practice with the mission of improvement. I hope to gain the confidence to potentially pursue an MFA, but I don’t currently know what is in store for me. I want to continue to document Japan in a unique lens, and I am always thinking about different project ideas to do so.

ADM: What advice would you give to another photographer considering taking on a longer term project? especially one as loaded with history as yours - both personally and globally relevant?

DC: The biggest advice I would give someone is surround yourself with people that care about you and what you are doing. I think it is really easy to get caught in a situation of half a step in, when these projects truly require you to be all in. I wouldn’t be able to make those leaps without having a support system around me of people I know who would have my back.

Beyond just having a good support network, know yourself and what you want to accomplish. What does a successful project look like for me? What do I want to get out of this? What does this all mean? I think these are all questions you have to ask yourself before even getting started and continue to check as you work on a project. If you aren’t taking these steps, then you might get off track of what you truly want to accomplish. Especially if the project is something personal to you, it can feel like a lot of weight to bare. At the end of the day, you can only do what you set your mind to.

Leaving this with one last thought, photography should never feel like it's burdening you when you are working on a personal long term project. Because the minute it is framed as a nuance, then the love of the craft is gone. The entire love of the project can dissipate without it being finished. I don’t have an answer of how to always keep a positive frame, but finding something to help ground yourself is the best piece of advice I have received, so relaying it here.

ADM: Where can we find your work? Do you have any printed projects or exhibitions coming up? Do you have any parting words? Thank you again for doing this interview!

DC: Most of my work is on Instagram and I am slowly putting together my website. I haven’t had the time to put the effort I would like to revamp it, but it is coming I promise.

In terms of printed projects or exhibition right now I am working on getting all these photos together and organized. I think the first priority would be to compile it into either a Zine or a book, so those are the next steps I am currently taking.

For parting words, thanks for doing the interview and it was a great way to collect thoughts in a structure that I hadn’t had before!

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Hiroshima Legacy Project: David Chao

Hiroshima Legacy Project: David Chao