[2024.12.17] Yuzuru Hanyu through the lens: The absolute champion as seen by a god photographer

[yuzurujenn]

Info: https://www.yamakei.co.jp/products/2824550260.html

 

"Kogaito is a photographer who tries to capture the inner side of his subjects" - Yuzuru Hanyu (from this book)
This book features beautiful gravure photos taken especially for this book! Don't miss Yuzuru Hanyu's monologue!

 

Yuzuru Hanyu, who won consecutive Olympic gold medals in men's singles figure skating and continues to shine as a solitary figure even after turning professional. And there is Sports Nippon Newspaper's Kogaito Yoshiki, who has been following Hanyu through his lens and is known as the "god photographer" for his highly artistic photographic expression. Their encounter has dramatically changed figure skating photography in sports journalism.

 

Kogaito's figure skating photos stand apart from the traditional "standard" sports photos. With his fresh sensibility, he creates captivating images. His unique "Kogaito Blue," which emerged after much trial and error, brings out the transparency of Hanyu's presence and has gained immense support from fans. Kogaito passionately stated in an interview, "The world that Hanyu expresses is not only what is visible. By imagining and interpreting what is not visible, I am able to capture the true essence of his performance." This insight into what fascinates Kogaito about Hanyu, along with his beautiful photographs, delves deep into the heart of Yuzuru Hanyu, through the words of sports writer Mitsuru Tanaka.

 

Table of Contents:

Photo Gallery

Prologue

 

Chapter 1: Indomitable Spirit
1.1 The 2014 Sochi Olympics, during the days covering the (Hanshin) Tigers
1.2 Stubbornly refused to shave his head for the baseball team
1.3 Rejection from joining the club, cancellation of job offer; a series of setbacks at Waseda University
1.4 The path to becoming a sports photographer
1.5 Wanting to take photos unlike anyone else's

Chapter 2: Inner Conflict 
2.1 After a year and a half of struggle in the editorial department, reassigned to the photography section
2.2 A baptism of fire as a Tigers beat photographer
2.3 After a second stint covering the Tigers, finally heading to Tokyo
2.4 From desk duty at the Rio Olympics to covering the PyeongChang Olympics
2.5 A newcomer “staff photographer” in the figure-skating world

Chapter 3: Resistance
3.1 A photo position looking ahead one year from now
3.2 "The gaze of the absolute champion" omitted from the Tokyo edition
3.3 A fateful shot taken at the Autumn Classic
3.4 A “miraculous” shot capturing the champion, illuminated by wings
3.5 A photograph of the absolute champion beginning to transform

Chapter 4: Determination 
4.1 The absolute champion arrives at the PyeongChang rink
4.2 Hanyu’s fighting spirit shown through drawing a bow
4.3 A stunning short program conveyed solely through his "expression"
4.4 Choosing a free-skate photo position based solely on belief in a gold medal
4.5 The moment of his second consecutive victory: The champion's expression beyond imagination

Chapter 5: Individuality
5.1 A new era of sports journalism created by social media
5.2 The story behind the creation of a full-page, poster-style photograph
5.3 A “crossroads” in life with the absolute champion
5.4 Pursuing a unique style: "High-Key" and "Kogaito Blue"
5.5 Astonishing shooting scenes where even failures became pictures
5.6 Covering the World Championships despite the COVID-19 pandemic

Chapter 6: Compassion
6.1 Hanyu's delicate and fleeting fighting spirit, dyed in blue
6.2 The athletes’ village mixed zone, where I quietly kept waiting
6.3 "Determination" and "solitude" conveyed through his back
6.4 A miraculous one-shot taken immediately after the free skate

Chapter 7: Deepening
7.1 A flash of light! Thoughts of disaster-stricken areas that became particles of light
7.2 The sense of distance with the subject, Yuzuru Hanyu
7.3 A soft aura enveloping his determination
7.4 Able to take on any color! The intention behind photographing him in a white costume at the second anniversary of his professional career

 

Special Feature: Yuzuru Hanyu's "Monologue"
Exclusive Photoshoot
In Place of an Afterword

 

Cover Photo: Yoshiki Kogaito (Sports Nippon Newspaper Company)
Stylist: Minako Orihara (Mi-knot Inc.)
Styling Cooperation: Taketoshi Hara (Schtik Inc.)

Hair & Makeup: Tomomi Kakizaki (Cap)

Design: Minoru Suga

Proofreading: Ichiro Toba

Editor: Tatsuya Murao (Yama-kei Publishers)

 

 

Author: Mitsuru Tanaka

Associate Professor, Department of Sports Management, Shobi Gakuen University, Sports Writer. Born in Kyoto in 1978. Graduated from Waseda University, Faculty of Law. Completed the master's program in Sports Science at Waseda University Graduate School. After working at Sankei Shimbun, he is now in his current position. His specialty is sports media theory. He has covered professional baseball, MLB, figure skating, and more. His published works include 'Portrait of Yuzuru Hanyu' (Yama to Keikokusha), and he co-authored 'Children Who Don’t Play Sports' (Fusosha Shinsho), among others.

 

Photographer: Yoshiki Kogaito

Photographer at Sports Nippon Shimbun. Born in 1983 in Mie Prefecture. Graduated from Waseda University, Faculty of Human Sciences, Department of Sports Science. Photographs figure skating, soccer, baseball, etc. He has worked on photo books such as 'Y Yuzuru Hanyu Photo Collection' (Sports Nippon Shimbun) and 'Mao Asada Ice Show Everlasting33 Photo Collection'.

 

 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

PROLOGUE

“A fleeting moment of brilliance.”

 

Spoiler

October 18, 2024. This was the answer I received from figure skater Yuzuru Hanyu, who had just finished a photoshoot at a studio in the suburbs of Sendai, when I asked him what he expected from being a subject in a photograph.

 

“In figure skating, a performance is expressed as a 'line,' formed by a series of intricate movements. Photography, on the other hand, cuts out a single instant from that continuous motion as a 'point.' At times, this can even appear ruthless. Flaws that might be concealed within the flow of a “line” can be exposed when captured as a single 'point.'”

 

Yet in Hanyu’s performances, no matter which instant is captured, there is always “expression,” always something that reaches the level of “art.” That is the honest impression from the photographer who has always aimed his camera at Yuzuru Hanyu.

 

From the interview with Hanyu that I was given the opportunity to conduct for this book, I came to realize that photographs of him, capturing a single fleeting moment, are inevitably formed in that way.

 

Hanyu said: "Even if figure skating has beauty as a ‘line,’ if you break it down into very fine segments, each moment is nothing more than a ‘point,’ right? And even those ‘points’ are a continuous series of movements, like tiny particles. No matter how small and particle-like those ‘points’ are, I want all of them to be cool and beautiful, forming a single ‘line.’ If you think about it, time is the same. We tend to perceive it as a ‘line’ connecting the past to the future, but in reality it is nothing more than a continuous series of ‘nows.’ So as a subject being photographed, my ideal is to look cool every time, no matter which moment is captured."

 

—Do you have any particular mindset when you are in front of a camera lens?

 

Even to the author’s vague question, Hanyu responded clearly:

 

“To be in the best possible condition that the photographer wants to capture.”

 

There are two photographs. One shows the absolute champion immediately after a battle, his body fueled by adrenaline and fighting spirit. His intense expression makes it clear that he overcame injury and successfully defended his place at the top. The other, a view of his back, captures a “solitary figure” who, after attempting an unprecedented ultra-difficult jump, has completed his battle with himself.

 

These are photographs taken immediately after his free skate at the 2018 PyeongChang Olympics, where he secured back-to-back Olympic titles for the first time in 66 years in men’s singles, and during the Beijing Winter Olympics, when the International Skating Union (ISU) officially recognized the quadruple Axel (a 4.5-rotation jump) as a competitive element for the first time in history.

 

Both images were taken by sports photographer Yoshiki Kogaito of the Sports Nippon newspaper (Sponichi).

 

At both the Pyeongchang and Beijing Olympics, he continued to point his lens, determined not to miss a single "moment" of the champion.

 

The caption of the first photo reads: “‘I won!!’ Roar of gold medal victory” (Hanyu erupts in joy after finishing his free skate in the men’s individual event at PyeongChang. He wins gold, becoming the first man in 66 years to win back-to-back Olympic titles and earning Japan’s first gold of the Games, energizing the Japanese team = Gangneung Ice Arena, South Korea, February 17.) This photo also won the 2018 Tokyo Press Photographers Association Sports Division Award (Overseas).

 

However, Kogaito pays no attention to external recognition. What matters to him is whether he has taken a photograph he himself can accept, nothing more. Could it have been better? Was the shooting position optimal? Was the color balance right? Because he never feels he has truly captured Hanyu at his “best,” he has never once been satisfied with his own work. That is why he continues to aim for the next photograph to be the best one yet.

 

Kogaito arrives at interview venues ahead of other photographers, waiting with his camera even in places where no one else comes. He questions existing photographs and constantly asks himself, “Isn’t there another way to capture this?”

 

Hanyu was aware of Kogaito’s unwavering stance.

 

During the interview, I had assumed that Hanyu would avoid commenting on a single photographer, given the potential impact of such remarks.

 

However, speaking naturally, Hanyu said this about Kogaito:

 

“Among sports photographers, I really felt that he was the type who leans more toward an artistic style, someone who brings out their own unique color in their work,” he said.

 

Beside him, Kogaito smiled shyly, looking embarrassed.

 

Hanyu continued without hesitation.

 

“There aren’t many like that. Newspaper photographers tend to end up taking more news-style photos, you know? I’m not sure if ‘ignoring that’ is the right way to put it,” (Kogaito nodded when Hanyu looked at him), “but I always felt he had a very strong desire to photograph the scenes and moments he himself thought were good, in his own way.”

 

That was exactly the case. After graduating from university, Kogaito joined Sponichi (a sports newspaper), and never attempted to produce the so-called “standard” photographs that had long been the norm in sports reporting. As a result, his resistance to established conventions likely made him somewhat difficult to handle as an employee. In a newspaper’s photography department, editors wait for photographers to submit their images for publication. What would happen if photographs that deviated from the conventional “standard” format arrived?

 

A fateful encounter awaited Kogaito, who stood outside the bounds of “common sense.”

 

The subject he kept pointing his lens at was Yuzuru Hanyu. In addition to his overwhelming strength as an absolute champion in competition, he occasionally revealed graceful, delicate expressions, and his finely trained body was not merely steel-like, but also possessed a certain softness. The impression of “transparency” fit him perfectly, as he radiated a presence that transcended the boundaries of sport.

 

Even figure skating had its own “standard” photographs. These were shots of jump positions, spins, and other poses that made it immediately clear to readers which sport they were looking at. To achieve this, one of the conditions of such “standard” images was that the subject’s entire body, including the skates, had to be captured in the frame.

 

At figure skating events, in addition to newspaper photojournalists, there are also freelance photographers working for specialized magazines. Top-tier freelance photographers enjoy immense popularity among fans. Their approach, distinct from news photography, freely expresses figure skating through the “filter” of the lens, and is highly regarded.

 

Kogaito began to have doubts.

 

“Is it really fine for figure skating photos in sports newspapers to stay the same as before? As a photographer living in the era of Yuzuru Hanyu, is it enough to simply take ‘standard’ photographs?”

 

That single step led to a major transformation.

 

With smartphones and tablets now widely used across all generations, the shift away from print has become even more severe. It has long been said that “newspapers no longer sell.”

 

In such a climate, one particular sports newspaper stands out.

 

The morning after Hanyu, who had turned professional as a skater, opened his ice show to the media, sports newspapers across the board featured him in double-page spreads. While the articles were noteworthy, the main focus was a single image captured from the show. It is said that the vast majority of Hanyu’s fans are women.

 

Sports newspapers are typically filled with coverage of sports favored by middle-aged and older men, such as professional baseball, Major League Baseball, soccer, golf, sumo wrestling, and even public gambling (horse racing, keirin cycling, boat racing, and auto racing). Normally, this would not appeal to Hanyu’s fanbase.

 

However, the day after Hanyu’s public practices, solo performances, or ice shows in which he appears are made available to the media, sports newspapers sell out at convenience stores and station kiosks around major terminal stations in the host city.

 

Fans' interest lies not so much in the articles, but rather in the photographs of Hanyu published in the newspapers. Sports Nippon (Sponichi) is particularly popular. Fans are drawn to the beautiful shots that capture Hanyu’s expressions and physique, as well as the “transparency” characteristic of his image.

 

These are photographs by Yoshiki Kogaito, who became Sponichi’s “exclusive photographer for Hanyu.” Having challenged the status quo, he eventually came to be called a “god” among fans. Today, even within media circles, Kogaito is widely recognized as the “god photographer.”

 

Sports reporting in print media is broadly divided into two roles: “reporters,” who write the articles, and “photographers,” who capture images on site.

 

For reporters, “pre-interview research” determines the quality of an article. From interviews and press conferences already conducted with the subject, they extract memorable words, and also interview coaches and others around them, incorporating into the manuscript the unseen efforts and trajectory of the athlete—things the athlete themselves may not speak about—in order to convey them to readers. When enough anecdotes are gathered through “pre-interview research,” they are woven into the article for the day, and by adding results and circumstances, the framework of the article is formed.

 

In contrast, what is required of photographers can be said to come down to a single point: whether they were able to press the shutter without missing the fleeting moment as it happened. While reporters can later revisit and re-ask questions, photographers cannot retake a moment that has already happened in the field. Under such pressure, what is Yoshiki Kogaito’s pride as a photographer, having consistently produced photographs highly praised by fans?

 

How did his encounter with Hanyu change his approach as a photographer? And how did he continue to direct his lens toward the brilliance that Hanyu radiated? My motivation for writing this book was to explore "Yuzuru Hanyu as captured by the god photographer," through carefully selected shots from the countless photographs he had accumulated.

 

As I wrote in my previous work, "Portrait of Yuzuru Hanyu II: 4,000 Days of an Absolute Champion as Seen by a Reporter" (published by Yama to Keikoku Sha), I began covering figure skating in the autumn of 2011, when I was working at the Sankei Shimbun.

 

At that time, figure skating coverage in Japan was still largely focused on female skaters. As men’s figure skating grew in popularity, Hanyu emerged like a comet, and men’s skating shifted from an era of many highly competitive top contenders to one defined by a single “absolute champion.” During this period, the mass media, including general newspapers and sports papers, competed through writing. The challenge was how to express skaters on the ice. The main focus was text, while photographs were little more than “supplements.”

 

However, with Kogaito’s emergence, Sponichi’s pages began to undergo a transformation. This was also supported by the strong backing of Yutaka Nagakubo, then head of the photography department, who had long served as a behind-the-scenes pillar supporting Sponichi’s figure skating photography. They introduced a new approach, shifting from the traditional model of “selling through words” to “selling through photographs.” During my time at the Sankei Shimbun, I even felt a sense of envy toward Sponichi’s strategy. Kogaito’s photographs, published in the newspaper and shared on social media, captured Hanyu’s transparency and emotions in a single, fleeting shot.

 

My relationship with Kogaito was limited to exchanging greetings when we met in the field. He was smart, polite, and never pushy. He was quiet and rarely seemed to engage in small talk with other reporters or photographers. In that sense, Kogaito was also a man who was difficult to read.

 

When I conceived the idea for this book, I wasn’t sure he would agree. However, when I explained my intentions, he readily agreed, saying, “That’s a wonderful offer. I’d be happy to cooperate.”

 

I was surprised when I heard about Kogaito’s path since he first set out to become a press photographer. He had by no means taken an elite career path. During interviews, he said this many times:

 

“I don’t have any talent as a photographer.”

 

However, he is stubborn to the point of refusing to conform to the photographers around him. Whenever there is a photograph that has been regarded as good in the past, he maintains his stance of trying to surpass that evaluation from a different angle. He prioritizes giving 100% to his subject over company evaluations. From an organizational perspective, he is by no means an easy photographer to deal with.

 

Having worked for a newspaper myself, I understand this well. So-called “difficult people” are a nuisance, whether they are reporters or photographers. There have been many cases of talented individuals who, despite their abilities, end up being sidelined from the field. In a different era, Kogaito might not have been an exception.

 

However, he encountered Yuzuru Hanyu, the darling of his time and an absolute champion. In the world of figure skating, where sport and art are said to merge, when the “solitary skater” who rose beyond the boundaries of competition to become an absolute presence became his subject, there was a brilliance that conventional figure skating news photography could not match.

 

Seeing Hanyu allowed Kogaito to break free from his own preconceptions.

 

"In the presence of such a skater, in front of Hanyu who continues to take on countless challenges, I can't afford to play it safe."

 

Removing his own limitations, the solitary photographer resolved to take photographs that defied conventional wisdom, photographs that no one else could take.

 

How did Kogaito transform “standard” photographs into images described as “divine”? There were numerous hurdles he had to overcome, both within himself and within Sponichi. This book reveals the details of these challenges. Here lies the life story of a photographer who devoted himself entirely to sports reporting.

 

Please note that honorifics for individuals have been omitted in the main text. In addition, Yuzuru Hanyu is generally referred to without honorifics; however, in the spoken comments of Yoshiki Kogaito and others, he is referred to as “-senshu” (athlete) during his competitive career, and as “-san” after turning professional.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source:

https://weibo.com/1746783312/P5bA7do5T
https://weibo.com/1746783312/P5kqt88ne

https://weibo.com/1746783312/P5qnA6vJN

 

 

Excerpts about Yuzu’s sensibility as a subject of photography

 

Spoiler

The special photoshoot for Kogaito's book (written by Mitsuru Tanaka) took place on October 18, 2024, in Sendai.

 

The photographer's request for the shoot was "sculptural imagery."

 

"I've always felt that the images created by Hanyu with his body are like those classic sculptural works. With this concept in mind, I wanted to use the imagery of sculptures displayed in an art museum for this shoot."

 

Yuzuru quickly understood the photographer's intention with just the request for "sculptural imagery," and posed one after another. The photoshoot took place in a completely quiet environment and took about half an hour. During the shoot, Hanyu was playing a piano piece by Ryuichi Sakamoto in his mind (though it wasn’t specified which piece).

 

-----------------------------------------------------------------------------------------------

 

"In front of photographers who want to take life-size photos of me, I show myself in a natural state, without hiding anything in front of the camera. In a sense, it feels like peeking into Yuzuru Hanyu's private life. However, in front of photographers who want to capture Yuzuru Hanyu skating, I want them to see me immersed in the world of the program. There are also photographers who focus their lens on my inner self, or what could be considered the core of my being. Of course, this will vary depending on the shooting scenario, but basically, I adjust my state as the subject according to the photographer's goals and ideas."

 

-----------------------------------------------------------------------------------------------

 

When Yuzuru Hanyu faces the camera as a subject, the sensitivity cultivated through figure skating is vividly reflected.

 

"Both the changes in awareness and atmosphere are shared with what has been cultivated in figure skating. How to integrate and align with different music in different programs, in that sense, I think photography and figure skating are very similar."

 

On the other hand, in figure skating, as a performer, Hanyu takes an active and subjective approach to his performance, facing an audience. During his competitive era, he also had to consider the judges. So, when Hanyu, as the subject of a photograph, faces the camera, is it a proactive engagement with the lens, or a passive confrontation with the lens that is focused on him?

 

"Hmm," Hanyu paused and shared his thoughts.

 

"How should I put this? Actually, figure skating is like that too. Sometimes, I perform with the image of being objectively observed from the outside (from the perspective of the audience and judges).

 

When performing, I often think, 'What kind of feeling will I present if I look at myself from the outside?' And when I am being photographed, do I have the same feeling?"

 

"Even though figure skating is initiated by me, there is indeed a part of me that stands in the position of the receiver. Although the balance between objectivity and subjectivity, and between active and passive may vary depending on the program, in terms of capturing a moment, it still seems to be an extension of figure skating.

 

"Of course, as I said earlier, when the camera seems to be peeking into my heart, I try not to observe myself from the outside. This might sound a bit abstract, but I feel that in those moments, the photographer is capturing not just my appearance, but my soul as well. So, at those times, it might be closer to completely exposing my untamed side."

 

Unlike the photography in a studio, as a figure skater, Hanyu performs in front of countless cameras.

 

There are moments when he might want to relax. His focus might waver for a brief moment. However, Kogaito says, "Hanyu can always turn into a 'painting' at any time."

 

If that's the case, does Hanyu constantly face countless cameras with heightened awareness? His unexpected response made me nod in agreement.

 

"During a competition, I am not performing for the camera. In my competitive years, my awareness was directed towards the 10 judges. When the judges saw my body from the front, the angle from each of their positions would be around 120 degrees. I performed with the awareness that no matter from which angle they looked at me, it would look great. Now, as a professional, my awareness has become even stronger. For the people watching me, whether they are the audience or the photographers, my goal is to make sure that from any angle, 360 degrees, the performance looks great. As for photos, I believe the photographer captures a moment in a positive sense. So, I also have a feeling that I rely on the photographer’s skill while performing."

 

Although Hanyu is the subject of the photos, he understands photography quite well. During the interview, he also mentioned technical terms.

"The ISO sensitivity of the photos, the tone, and the white balance are all influenced by the photographer's preferences, which can vary. You can tell by looking at the photos. Sense is different for each person. For me, there are moments in the program where I hope to capture specific scenes. For example, in SEIMEI, it's the moment when the taiko drum beats 'boom,' and I open my arms and widen my eyes. But depending on the photographer's preferences, some might choose to capture the moment I raise my arms, or others might prefer the dynamic sense of motion. Some photographers might choose to capture the perfect stillness of the hydroblading pose, while for 'notte,' there are those who capture my reflection in the ice, which looks like a calm lake."

 

The different photographers capture a particular "moment" in the performance, which can only be seen at a specific point in time and from a certain angle along the "line" of figure skating. What I always focus on is ensuring that the performance is great from every angle, 360 degrees, no matter where it's viewed from. However, depending on the position of the observer, what they see will be different. And depending on each viewer's individual sensibility, their reception of the performance will also vary.

 

 

 

 Source: https://weibo.com/6473801248/P5CDvDUZ6

 

Excerpt about Kogaito's attention to detail
 

Spoiler

"Remembering Hanyu’s choreography and deciding in advance the shots I want to take is the 'standard practice' for photographing figure skating. However, I want to capture the spontaneous, improvisational movements of Hanyu that only happen during that specific performance. While there are iconic moves, like hydroblading, there are also many subtle differences in the choreography each time, and that’s what makes Hanyu’s performance unique. If I can capture a move that the audience has never seen before, I believe that will naturally become the most impressive photo of the day."

 

Regarding Kogaito’s attention to detail and his pursuit of capturing "the most brilliant moment of the day," Hanyu expressed his admiration:

 

"In figure skating, where the entire space — left and right, up and down, forward and backward — is used for expression, with both the X, Y, and Z axes involved, I think Kogaito is the kind of photographer who makes you feel, 'Wow, this moment is really cool.' So, it makes me happy that Kogaito is willing to capture the moments he finds 'really good' and 'amazing.'"

 

While being interviewed, Kogaito showed a nervous expression. Noticing this, Hanyu teasingly said:

 

"I've been praising you non-stop!"

 

During the interview, Hanyu described Kogaito as "a photographer who captures the inner core of a person." This statement deeply resonated with Kogaito. Throughout the interview, he seemed particularly concerned about how Hanyu viewed his photos of him. (Excerpt omitted)

 

As introduced earlier in this book, Kogaito tries to communicate with his subject, Hanyu, through his photography. Therefore, he believes Hanyu’s evaluation of his photos is everything.

 

The phrase "a photographer who captures the inner core" contains the best answer Kogaito had been searching for all along.

 

 

[yuzurujenn]

 Source:

https://m.weibo.cn/status/5113237508720695
https://m.weibo.cn/status/5113281584824326
https://m.weibo.cn/status/5113353293532836
https://m.weibo.cn/status/5113362285596028
https://weibo.com/7848586779/P5sqYw3fW
https://m.weibo.cn/status/5113386819914480

 

 

Chapter 1 - Excerpts

 

Spoiler

Beginning of Kogaito’s journey to photography

Kogaito's second job search began in December of his senior year in college, continuing as he kept exploring options. His goal of becoming a trainer once again fell through and was cancelled, leaving him disappointed. He no longer felt motivated to pursue that path. Despite this, he still wanted to work in the field of sports, so he started looking for job opportunities related to that. At a time when he couldn’t find a way forward, he confided in a photographer from Kodansha whom he had met online.

The other person asked, "Are you interested in becoming a photographer?"

This was a world Kogaito had never considered before. Although he was skilled in art and had an interest in it, photography suddenly sparked his interest. As a result, this friend sent him several digital cameras, including both telephoto and wide-angle lenses.

The friend said, "Once you make a name for yourself, you can pay me back for these cameras."

So, Kogaito began his travels with a camera, freely exploring both domestically and internationally, constantly pressing the shutter, especially focusing on children. He also travelled to shoot the Moai statues of Easter Island and the Sun Festival, one of the three major South American rituals. During this time, he truly felt the joy of photography. The camera became a medium for communicating with children. As communication deepened, the photos themselves began to change, expressing joy, and he started to envision how to arrange the shots. It was at that point he realized he wanted to photograph sports.

Now, being able to take such photos, Kogaito saw his roots as a photographer in those original landscapes. Immersed in the world of photography, Kogaito's goal became to combine sports and photography, aiming to become a sports photographer.

It’s common for photographers at major newspapers to have studied fine arts, with many of them active in their university's photography clubs. Kogaito didn’t have that kind of background. However, after consulting with the Kodansha photographer, he received the advice:

“For sports photography, experience doesn’t matter.”

So, he decided to use his camera to capture sports scenes, believing that a sports newspaper might be the best place to realize his dream. His father loved reading daily sports papers, and he had often seen many sports newspapers at the station's kiosk. With this in mind, he set his sights on these two companies and began his second round of job hunting.

Kogaito went for the interview.

The sports newspaper’s interview process was a comprehensive recruitment system, with journalists, photographers, personnel, and general affairs all interviewed in a shared office, with a group hiring process. Kogaito’s aspiration was to become a photographer, and he was given the internal qualification for Sponichi. Meanwhile, the daily papers gave him a reserve recruitment qualification.

At that time, the decisions made by both companies might have influenced the landscape of figure skating photo reporting in the future. 
Kogaito wanted to be a photographer who could capture different photos from others. His initial goal was to take an “independent path.” The world of sports photography has certain standard templates. For example, in figure skating photos, for male skaters, it’s essential to capture the moment of a jump, while for female skaters, the "swan pose" must be photographed. From a skater’s perspective, even if a jump is beautiful, they might not want others to photograph them while rotating. Even though there may be some criticism from readers, such photos are still quite common. Other essential elements include close-up shots of the skates, or being able to tell which jump is being performed based on the position of the hands—these are all required elements in figure skating photography.

To put it bluntly, no matter how beautiful the expression is in a photo, editors at the newspaper would make a stern remark when selecting photos for the next morning's edition: "With this photo, we have no idea what event it’s from."

Of course, sports reporting has its own unique reasons. Television broadcasts can use video footage to convey the results of a competition, but print media must use words and one or two photos to explain the story. With more and more people not reading newspapers anymore, for those who still do, the "entrance" to understanding the sports event comes from the headline and the photo. This allows readers who are interested in that sport to read the report.

Also, the headline must be attention-grabbing, and the photo should immediately tell the reader what event is being reported. The photographer’s task is simple: clear and easy to understand. A good photographer is one who can accurately capture such photos at any given scene. This standard in sports reporting is built over time—first learned from predecessors, then practiced personally, and finally passed down to the next generation.

The sports photo reporting tradition has always played a role in communicating information to a broad audience. Although it's sports news, depending on the event, the coverage might not go into much depth. For events like figure skating, sports newspapers aim to cover them in a broad and simple way, making it easy for the general public to understand.

However, sports reporting articles and photos sometimes don’t update quickly. (For example, in certain GPF events, many newspapers simply buy a photo, or use old photos)

Some might say: "For figure skating, just take photos of the jumps, the skating, or full-body shots with the skates included."

This became the standard, and no one sought change.

At the time, Department Head Nagakubo understood Kogaito’s perspective very well.

Kogaito wanted to photograph figure skating live during the time before the Nagano Olympics.

At that time, there were no digital cameras, and everyone used the same 36-frame roll of film. When athletes performed, there was no time to change the film, so everyone had to make do with those 36 frames to capture the essence of the performance.

When a performance started, the photographer would typically take 5-6 shots of the initial position, then as the skater started skating, they would carefully manage the shots. Finally, as the program ended joyfully, 5-6 shots would be taken. This meant that the actual time spent capturing the performance would be about 15 frames. Back then, Honda Takeshi was the one performing 4-revolution jumps, and the theme for the men’s events was mostly jumps, while for women, it was all about the swan pose. At that time, any failure or falls would be turned into "comics," and these would also appear in newspapers. This was what Kogaito referred to as the "standard template." Full-body vertical shots like these were considered good photos.

At the time, the internet had not yet become widespread, and there were no social media platforms. As a result, it was difficult for fans and readers to voice their opinions to the media. Therefore, the standards for photo selection were rarely influenced by outside feedback. Eventually, photos of jump sequences began to decrease due to the athletes' objections, and photos from other angles—such as those capturing the athletes' joyful expressions—began to replace them. However, these changes did not bring about any fundamental revolution.
At this moment, Yuzuru Hanyu’s arrival changed everything.

In the figure skating world, often referred to as a "women’s sport," he established the position of male figure skaters. Not only was he capable of executing difficult quadruple jumps, but he also possessed exceptional expressiveness, and even his off-ice expressions were highly captivating. He earned high praise in Japan, North America, and Europe, and gained a new fanbase in countries such as China, South Korea, and Thailand.
Fans who were drawn to Hanyu’s charm began paying attention to sports newspapers. For traditional print media, which was facing a decline in circulation and seeking to attract new readership, this was an opportunity they could not have hoped for more.

As a result, works by the photographer Kogaito gradually gained recognition, standing in sharp contrast to traditional reportage photos. He said: "I happened to be in the right place at the right time. I’ve always believed that photos catering to the masses do not spark enthusiasm. In this age of information overload, broad and shallow reporting is unlikely to capture anyone’s interest. Those photos that are designed to be easily understood by everyone might not actually touch anyone’s heart. When the true fans following Yuzuru Hanyu's charm began buying sports newspapers, if we couldn’t provide targeted photos for the core fanbase of figure skating, then sports newspapers would struggle to survive.
However, logically speaking, as a newcomer, no one in the company would agree with what I’m saying. By chance, Yuzuru Hanyu, as a rare genius skater, became the subject of my photography. The traditional ‘staged’ photos couldn’t fully capture his charm. At the same time, the fans also yearned for different photos. For this reason, even though my ideas seemed unconventional, they were accepted."

In fact, Kogaito acknowledges that the sales of sports newspapers after competitions or ice shows featuring Yuzuru Hanyu are indeed affected. For example, when an ice show was held in Sendai, the kiosks at JR Sendai Station and surrounding convenience stores would be stocked with sports newspapers, which are rarely seen on regular days.

Kogaito focused on capturing photos that deeply resonated with the core fanbase. He said: "Even if only a few times a year can attract new readers to purchase sports newspapers, that’s still a huge encouragement for me. When I see people holding Sponichi at venues near Yuzuru Hanyu’s performances, I feel immense satisfaction, and my motivation is greatly boosted. It makes me feel that my photos have truly touched people’s hearts."

Of course, the decline in young people's interest in print media is a serious issue. Even though Hanyu's coverage may temporarily boost newspaper sales, it cannot reverse the trend of declining circulation.

Against this backdrop, major newspapers began shifting their focus to new content, with one initiative being to enrich their websites with articles and photos. Sponichi, with its "divine photographer" Kogaito, chose to focus on Yuzuru Hanyu’s photography collection.

Not only featured in print, the emotionally rich photographs of the subjects have attracted a new reader base. The path to this point has been far from smooth. Kogaito’s journey hasn’t followed a fixed template, and although his work has not yet garnered completely new acclaim, his photos, once seen as unconventional in sports reporting, are now beginning to make an impact. However, this has come after more than a decade of work since joining the company.

 

[yuzurujenn]

 Source:

https://m.weibo.cn/status/5113578597650271
https://m.weibo.cn/status/5113595229372539  
https://m.weibo.cn/status/5113651992201994

 

 

Chapter 2 - Excerpts

 

Spoiler

Chapter 2: Entanglements

(Many of Kogaito's job transfers, such as being assigned to the Osaka branch and being tasked with photographing other projects, are omitted. The author dedicates a significant portion of the text to Kogaito's growth journey, which is interesting for those curious about the Japanese media industry.)

 

 

Through the Rio Olympics, aiming for the role of photographer at the PyeongChang Olympics.

 

If Kogaito had stayed in Osaka, the opportunities to photograph the Olympics and World Cup would have been fewer. Therefore, Kogaito wanted to move to Tokyo to make a name for himself there. He applied for a transfer to Tokyo, but the situation didn’t change. He applied again to his superior for a transfer, and with the results of his work on other projects, he finally succeeded on October 1st of that year.

 

Upon arriving at the Tokyo headquarters, Kogaito was not initially assigned any tasks. As a member of the "freelance" team, he would be sent to locations in need of extra hands. In fact, on New Year's Eve in 2015, Kogaito got the chance to photograph Yuzuru Hanyu for the first time.

 

The NHK Red and White Song Contest, as is customary, allowed young photographers to take photos. Kogaito was assigned to photograph Yuzuru Hanyu, who was wearing a kimono and attending the event as a judge at the NHK studio.

 

“This young man is the Olympic champion,” Kogaito thought with respect, directing his camera toward Hanyu. At that moment, Hanyu probably didn’t know that he would play a major role in this photographer’s life-changing journey.

 

By January 2016, Kogaito had spent three months as a "freelance" reporter. Compared to his time in Osaka, where he only photographed Hanshin Tigers baseball games, his range of assignments greatly expanded.

 

Nagakubo chuckled and said, “Kogaito is a bit of a shrewd guy. I didn’t expect him to have such a strong personality—seems like he’s just pretending to be innocent.”

 

Olympic photography is not fair to all media outlets. Some media use capital to accumulate photographic achievements, while influential media worldwide have priority when choosing shooting positions. If you’re going to photograph the Olympics, you have to compete with global media, so you must come up with methods that cannot be achieved with money and be well-prepared in advance.

 

After the Rio Olympics, the sports media planned to reorganize their reporting teams in two years. In 2018, there was the World Cup and the PyeongChang Winter Olympics in February. After the Rio Olympics, Kogaito had more opportunities to cover football and also started photographing the World Cup.

 

There was another key decision made in January 2017.

 

Nagakubo clearly told him, "For the upcoming Winter Olympics, I want you to go and photograph it." Kogaito had long hoped to be appointed as a key photographer for the Winter Olympics, and at that moment, his wish was finally fulfilled.

 

A New Participant in the Figure Skating World of "Newspaper Photographers"

 

In February 2017, the city of Gangneung, South Korea, was surrounded by bitter cold. Located about 200 kilometres from Seoul on the country's east coast, Gangneung is a coastal city facing the Sea of Japan. This city would host the 2018 Winter Olympics, and during the Games, it was connected to Seoul by the Korean high-speed rail (KTX), a significant upgrade from the previous year when the only transport option was the express bus.

 

The Winter Olympics were to be held in the following year, and Gangneung Ice Arena would serve as a test venue for the Games, hosting the 4CC (Four Continents Championship). For the athletes, this was a great opportunity to experience the Olympic venue and familiarize themselves with the local environment. Among the top athletes was Yuzuru Hanyu, who aimed to defend his Olympic title for the first time in 66 years, leading the men’s figure skating field.

 

Kogaito was appointed to cover the PyeongChang Olympics, where his responsibilities extended beyond figure skating to include speed skating and events held on the mountain, such as skiing. Three years earlier, the Sochi Olympics had felt like a distant world to Kogaito. Now, he was fully aware of the reigning champion in figure skating.

 

After winning the gold medal at the Sochi Olympics, Hanyu continued to dominate, reaching an unprecedented level of performance. In the 2015-16 season, at the NHK Trophy, he became the first skater to complete a combination of two quadruple jumps in the short program, setting a new world record. He also set a new highest score in the free skate, showcasing an otherworldly performance. Two weeks later, he broke his own record again at the Grand Prix Final. In the following 2016-17 season, Hanyu landed the first-ever ISU-recognized quadruple loop jump and secured his fourth consecutive GPF win, making him the biggest contender for the PyeongChang Olympic gold medal. As a photographer covering the PyeongChang Olympics, Kogaito was eager to capture Hanyu, but the pressure of photographing such an outstanding athlete was immense.

 

For a long time, figure skating coverage at the Sponichi had been the domain of Nagakubo, the editor-in-chief. Nagakubo had established his position by photographing figure skating as a sport, winning the support of many figure skating fans. "The world of photographers is full of professional temperament," Kogaito reflected. "Nagakubo took care of me very well." Photographers working for newspapers are known as "newspaper photographers," and while they are professionals, they are also office workers. However, the world of photography doesn't always follow the typical office culture, and passing down such practices to the next generation is uncommon.

 

Nagakubo, however, was different.

 

The world of figure skating photography also has its "villages." There are freelance photographers, photographers belonging to photography magazines, and photographers working for publishing houses. Newspaper photographers are further divided between general newspapers and sports newspapers, with each type of media having a distinct style. In most sports reporting environments, photographers are either from newspapers or magazines. However, figure skating is unique, with many freelance photographers because the photos can be incredibly valuable. Some freelance photographers, whose skills allow them to compete for photos, can sometimes have a competitive and even hostile attitude toward "newspaper photographers," who get paid regardless of the quality of the photos.

 

Yuzuru Hanyu, as a subject, transcends the boundaries of figure skating, becoming an international superstar with a massive following both domestically and abroad. This high level of attention to his figure skating photos means that any photo he appears in receives significant scrutiny. In this world, capturing a good shot can result in valuable recognition, but a poorly taken photo can lead to an immediate drop in reputation.

 

[yuzurujenn]

 Source:

https://m.weibo.cn/status/5113964130470585

https://m.weibo.cn/status/5114484273975862 

https://m.weibo.cn/status/5114746877777468 

 

Chapter 3 - Excerpts pt 1

 

Spoiler

Aiming for the Shooting Position One Year Later

With his slender figure and soft expression, coupled with an ethereal aura, when Yuzuru Hanyu stands on the ice, he immediately reveals the demeanour of a seasoned athlete. Figure skating is an art-focused sport, and Hanyu, who is dedicated to victory, represents the essence of the athlete himself. Before his performance, he would immediately concentrate, entering the "zone," and when he executed a satisfying performance, he was overwhelmed with joy. When his performance didn't go as planned, you could catch glimpses of his bittersweet, reluctant smile.

This is the Olympics for Hanyu. The reigning champion made his way to the Games with the goal of achieving the first Olympic title defense in 66 years at the PyeongChang Olympics. The world described it as such.

Kogaito was mentally prepared for this.

“I’ve finally realized my dream of shooting on-site. I want to capture a photo that symbolizes the PyeongChang Olympics. My goal is to capture the moment when Hanyu wins the gold medal.” But simply capturing his joyful expression was still part of the “fixed template.” Kogaito wondered what kind of photo he should take to break free from that, setting a self-imposed deadline—he aimed to shoot at the 2017 4CC (Four Continents Championship), one year before the official Olympics, to prepare himself. For photographers, this was the best practice platform.

Before heading to Korea, Kogaito meticulously went through every previous photo of Hanyu. Although he had never shot figure skating before, with the competition already halfway through, he repeatedly watched videos and photos of Hanyu’s performances that season. He noted where the jumps, steps, and spins occurred, and which expressions Hanyu would show in major competitions, documenting every detail.

For major competitions, photographers often press the shutter tens of thousands of times in one day. There are moments when they miss the perfect shot, and many photos that don’t turn out well. All the shots are uploaded to the newspaper’s shared folder. In the season before the Olympics, Hanyu’s short program was set to the popular rock song “Let’s Go Crazy” by an American rock singer, and his free skate to the piano piece “Hope and Legacy.” In the newspaper’s internal folder, there were about 1,000 photos from the short program and around 1,200 from the longer free skate. Kogaito had seen them all.

As for Kogaito, who has photographed various competitive events, many people would directly say: ‘Shooting itself is just a simple sport.’ The reason is clear. There is only one person on the ice. Unlike team sports, you only need to follow and capture one athlete, and with autofocus, there’s no need to manually focus. However, if you look through the newspaper's internal folders, from a photography technique standpoint, they haven't been pursuing high standards.

Kogaito added, “That’s why we need to aim for tasteful shooting techniques. What kind of photo should you take? What scene should you shoot? Photography, rather than focusing on technique, is a sport that requires having a 'point of view.'” As he reviewed the photos, Kogaito began to feel a sense of incompatibility.

“These photos all look too similar. As I’m going through them, I keep wondering—aren’t there other ways to shoot?”

On the computer screen, with the thumbnails displayed, he would select the photos that caught his attention and maximize them. When displayed as thumbnails, they looked like a collection of identical photos grouped together.

“Most of them are full-body shots taken from the stands with the ice as the background. This is the ‘fixed mode’ shortcut for figure skating.”

Of course, the photographers on-site can’t afford to slack off. To convey the essence of a figure skating performance, details such as the skates, clothing, facial expressions, and skating posture must be clearly captured. Full-body shots with the background included are ideal, and these are the “shortcut photos” Kogaito refers to.

 

Additionally, among photographers at the time, there was what could be called a "standard formula" or "joseki," a concept borrowed from Go, where the best move in a given situation is already well established. For figure skating photography, the "joseki" for positioning was this: short programs are shot from above the stands, while free programs are shot from the ice surface. For the brief short programs, the approach is to capture the athlete's full body against the ice background, prioritizing efficiency to complete the frame. For the free skate, the photographer can afford a bit more "creativity," shooting from the ice surface and varying the distance, alternating between close-up and wide shots, and thus completing a well-executed photo.

This traditional approach to figure skating photography has been passed down, and despite changes in equipment or other factors, the photos published in newspapers have remained nearly identical, making them “stable.” 

Kogaito was filled with doubts about such photos: “Is there no other way to shoot them?” As the 4CC approached, he decided to attend the competition with a mindset to learn. He also reflected on his own tendency to overly pursue his ideal style while shooting other events. How should he capture photos of Hanyu, a representative figure of this era? Kogaito focused on the official Olympic competition one year away, and entered the 4CC with one decision: for both the short program and free skate, he would shoot from the stands. Normally, shooting from the ice side provides more freedom, and for this year's 4CC, the free skate could be shot from that side. However, the Olympic Games are different—4CC can't be compared to it. At the Olympics, there will be media from many countries shooting on-site. The Japanese press will not be assigned to the prime shooting spots, so he must find a location from the stands that is easier to shoot from. The battle for the Olympic Games, one year away, has already begun.

 

 

"Hanyu, after two months of recovery, made a mistake in the competition, placing third in the SP. Not satisfied."

This headline appeared in the February 18, 2017 morning edition of the Sponichi. Hanyu's right index finger was pressed against his forehead, with an expression of frustration. Kogaito recalls:

"This was the moment when Hanyu made a mistake, and his feeling of frustration became evident. This gesture was very natural for him, revealing his emotions. This photo really captures his inner feelings displayed on the ice. I thought about it and then pressed the shutter."

Kogaito arrived at the scene on February 13 and immediately began following Hanyu's every move. He captured Hanyu arriving at Incheon International Airport, then followed him from the airport hall and continued to snap photos as Hanyu got into his car.

The level of attention Hanyu received was evident even before he disembarked from the plane. Not only were Japanese fans there, but fans from countries like Korea were also waiting for him, holding banners everywhere. Hanyu, wearing a mask, left an impression of a slender figure with fair skin. A row of photographers aimed their lenses at him, while columnists approached him, seeking a few words.

The following day, February 14, Hanyu practiced at the official competition venue. Kogaito, who was shooting Hanyu for the first time, focused on capturing his movements on the ice. The photo used for publication was taken with a wide-angle lens. "At this point, it was actually a test before the Olympics. I wanted to convey to readers the scene of Hanyu practicing at the Olympic venue. If I had shot upwards, it wouldn't have been clear whether it was the venue in Gangneung or one in Japan. So, I wanted to make it clear that this was at the Olympic venue. But looking back now, this was from the perspective of sports reporting."

Kogaito shook his head. "What kind of figure skating photos are people really aiming for?" So, for the short program on the 17th, Kogaito sent photos linked to the results to the newspaper. At that time, Hanyu's 4Lo at the start was perfectly executed, and his 3A in the second half earned a +3 GOE, but his second 4S was downgraded to a 2S, causing him to drop to third place.

"I later chose photos that corresponded to his movements, but in the end, this was based on the perspective of sports reporting. In taking photos of Hanyu, I could also capture high-quality shots, but the fact is, those (photos used for sports reporting) had to come first. If his performance was flawless, I would choose photos that convey his joy; if he made a mistake, I'd select photos showing his fall or frustrated expression. It’s always that process. As a photographer at the bottom of the hierarchy, I had no say in which photos the editor would choose for publication. In the end, the photo that was published was one showing Hanyu's frustrated expression over the result."

Though Hanyu made a mistake in the second half of the free skate, he scored a season-high 206.67 points with four quadruple jumps, winning the free skate and finishing second overall. The theme of the Sponichi's page was a photo of Hanyu mid-jump.

The headline was: "Five Quadruple Jumps, Witnessed." Based on the GOE of the free skate, the headline was very clear. The report was focused on the content, not necessarily on the photo Kogaito took. For a sports newspaper, that’s the obvious choice. But Kogaito wished he could use other photos.

Kogaito truly felt Hanyu’s greatness in person. He understood why Hanyu's beautiful quadruple jumps had become a template. Some people joked that multiple quadruple jumps just made it a "jumping contest", but Hanyu showed the essence of performance with his dedication to expressiveness. At that time, Kogaito felt that he couldn’t fully capture Hanyu’s power and greatness facing the camera in a competition with just photos and words.

Though a bit blurry, Kogaito candidly said: "I understood Hanyu's strength as a skater."

The best angle for shooting the podium is from the front, where you can capture the athletes' expressions when the medals are put around their necks, and their emotions as they stand on the podium. Other photographers naturally set up in front. However, Kogaito deliberately positioned himself diagonally behind the podium, a place that could not be considered the "right" spot. Why did he aim his camera there? He had a clear purpose. Though he couldn’t get a shot of the athletes from the front, he could capture Hanyu’s gaze toward a certain person from that position. So, he discarded the front-angle shots, though the editor still preferred the front-facing photos and gave him a sour look.

"If they want to use photos from other affiliated news agencies, why send our own photographer to the scene?" Despite this, Kogaito had his own persistence. The key photo he wanted to capture was Hanyu's gaze toward someone—this was the decision a photographer on-site would make, as Kogaito explained.

Hanyu stood on the podium, smiling and offering his best wishes to someone, showing a gentle expression and shaking hands. The respect for the victorious athlete was evident in Hanyu’s humanity. Then, the two embraced, gazing into each other's eyes in that moment.

"This was the moment when Hanyu’s athlete instinct was awakened. While he sincerely praised the other person, his frustration over not achieving the desired result didn’t disappear. I saw that, in Hanyu, there was a deep sense of frustration, a mindset of ‘this time it’s okay, but next time I will never lose.’ I’ve photographed many athletes, but Hanyu is special. Seeing Hanyu’s gaze through the lens, I felt that I had to be mentally prepared to capture such a powerful athlete in the future."

At that time, when the internet hadn’t yet actively updated breaking news, Kogaito carefully selected his photos. "This one is better," he decided and sent a photo of them shaking hands. "Actually, it wasn’t just a handshake; I wanted the editor to understand my intention was to capture Hanyu’s gaze." 

 

 

The photo of the handshake (where Hanyu’s gaze is captured) was used in the Osaka edition of the newspaper. However, the response in Tokyo was different. The editor saw the photo and immediately called: 'Please send over a photo of the jumps.' Kogaito felt powerless. Of course, it wasn't the editor's fault. What would happen if his photo stood out too much and became too sharp? He understood that they wanted a photo of the jump. He also understood that by including a jump photo, the fixed-template photo would make it easier for readers to understand. The layout had to be done this way.

However, Kogaito felt ashamed. “What I saw on-site wasn’t just about the jump; it wasn’t like that.” He wanted to change the editor’s mind about the photo, but back then, Kogaito didn’t have any significant track record and no influence within the newspaper. Although he conveyed that "the handshake photo would be better," the editor firmly insisted: "I want the jump photo." Kogaito said he will never forget that feeling; he held back his frustration and sent over the jump photo the Tokyo edition wanted.

After returning to his country, he checked out the photos published in other newspapers and magazines. Kogaito thought that other photographers would also review the photos he took. “In the world of photography, results are everything. Once the photo was in the newspaper, I realized I had taken such a photo. In the newspaper’s data, or rather, in the Osaka edition, I could see where my persistence was reflected. That being said, it felt like an excuse. The photo I thought was good wasn’t used in the Tokyo edition. I couldn’t control which photo the newspaper would display. Later, the Mainichi Sports used the jump photo from the free skate which I had taken. When shooting the medal ceremony, perhaps other photographers wondered, 'Why did Kogaito shoot from a diagonal angle?' They probably just thought I hadn’t focused properly. However, the expression of Hanyu’s desire to win, which I captured, wasn’t visible in the Tokyo edition, and that frustrates me.”

Looking back on that year, I asked Kogaito how he evaluated his photos from the 4CC. He said, "There is no perfect score in my photography career." With that premise, he calmly replied: “At that time, I would give myself 20 points.” As for the photos taken outside the podium ceremony, he felt they were good photos, even though they weren’t published in the newspaper. Still, he gave himself 10 points for that. He also gave himself 10 points for capturing photos of the free skate and short program from the pre-planned Olympic competition locations—this was meaningful in setting up for the Olympics a year later.

He also said: "At that time, I didn't photograph enough of Hanyu’s charm."

When it comes to photography, while the photographer's technical skill is very important, the subject's presence is also crucial. Now, looking back, Kogaito realizes that he didn’t fully capture the best parts of Hanyu or his charm through the lens.

Hanyu shows many different "faces" to photographers. Since he revealed so many sides, Kogaito thought, “What kind of photo should I take?” This is how he grew as a photographer. Many people call me a "god," but at first, I didn’t have exceptional shooting skills or any unique methods. It was through photographing Yuzuru Hanyu that I was able to grow. A month later, at the World Championships in Helsinki, Finland, Hanyu made a stunning comeback from fifth place in the short program to reclaim the World Champion title for the first time in three years. However, Kogaito didn’t manage to capture a photo that came close to showing Hanyu’s charm.
Compared to other sports photographers, though Kogaito continued shooting, he couldn’t say that he was entirely satisfied, but he also couldn’t call it a failure.

 

However, he was deeply impacted that summer before the PyeongChang season. The impact came from the methods of freelance photographers. Every year, a routine shooting and interview session is held in Toronto, and this season, Hanyu would perform his short program and free skate for the Olympic season, drawing more attention than in previous years.

Kogaito also went to the Cricket Club in Toronto, Hanyu's training location. Hanyu got out of the car near the training ground, pulling his suitcase as he slowly walked towards the entrance where the press corps was waiting. There were many photographers waiting for Hanyu’s arrival at the entrance. Since Kogaito was new to shooting in Toronto, he didn’t fully understand the situation and wanted to escape the crowded area. He stepped slightly away from the crowd and aimed his camera at Hanyu. However, as Hanyu walked over, a freelance photographer’s figure entered Kogaito’s line of sight. The photographer crouched in a low position and aimed the camera at Hanyu. In front of Hanyu, there was a brightly blooming, colorful flower bed, and the flowers in the background were blurred and blended beautifully. The photographer cleverly captured the refreshing summer image of Hanyu. Kogaito immediately understood the photographer’s intention.

"He was shooting there." The next day, the newspaper published a photo from the public practice session, while a specialized magazine released its issue the following day. The photos published in the magazine reflected the hard work of the freelance photographers. The angles, techniques, and the focus of the shots all demonstrated their dedication.

Kogaito admired the way freelance photographers worked. They carefully considered shooting positions in advance. He also noticed another freelance photographer in front of Hanyu’s walking path. The photographer had perfectly captured Hanyu’s gaze, pressing the shutter at the moment Hanyu smiled.

This is the result of long-term shooting and the trust built between the subject and the photographer. Kogaito felt a sense of defeat.

“For Hanyu, the subject I was photographing, I ended up escaping to other places. I must make up my mind."

 

[yuzurujenn]

 Source:

https://m.weibo.cn/status/5114843550712786

https://m.weibo.cn/status/5115084363796642

https://weibo.com/1683522853/P6EOtnUCU

 

 

Chapter 3 - Excerpts pt 2

 

Spoiler

A Fateful Photo Taken at the ACI

On September 22, 2017, Hanyu Yuzuru participated in his first competition of the season in Montreal, Canada, the ACI (Autumn Classic International). The season leading up to the Olympics had finally begun. Many Japanese media outlets came to cover the event. The day before, they had attended the official practice, and there would be another official practice session that day, followed by the short program. Hanyu chose Chopin's Ballade No. 1 in G minor, Op. 23, a piece that had broken historical records in the 2015-2016 season, stunning the world. This legendary program would be brought to the Olympics.

Hanyu's first competition of the Olympic season was overwhelming. With his opening 4S and the 3A in the second half of the program that earned a GOE of 1.1 times the base points, he delivered a flawless performance. He updated his own world record and stood in first place with brilliance. After the competition, Hanyu radiated a sense of accomplishment. At that moment, sports newspapers used titles like "overwhelming" and "breaking the world record" alongside photos brimming with the spirit of a champion, which became a "fixed template."

Even ignoring the melody of the piano piece and the atmosphere of the program itself, sports newspapers wanted to make it very easy for readers to understand Hanyu’s spectacular performance as he aimed for the Olympics, emphasizing that he had gotten off to a great start. On the other hand, Kogaito thought: a photo that could capture the melody of the piano would be the most fitting for Ballade. He selected photos from the thumbnails. The sports newspaper’s "fixed template" was the opposite of what Kogaito had in mind. However, when considering how to photograph the subject, that should remain unchanged. Yet, now the approaches from both sides were very different.

As Kogaito reviewed the photos he had taken and stored them on his computer, his eyes stopped on one image. It was a shot that captured the soft lines of Hanyu's body, taken just before he entered the final steps of his program. His outstretched hands seemed to reach for something, and his expression was one of looking toward the sky. The photo was a side profile. "Usually, front-facing shots are more popular because they are more lifelike. But this side profile of Hanyu is also lifelike." Kogaito kept reviewing the photo over and over. When he discovered this one, he had to go back to it multiple times. He felt it truly represented "static beauty."

"I think I've captured a photo I like," he felt an urge to have it published in the newspaper. However, that wasn't an easy thing. The photos required for the page, whether of Hanyu or other skaters, should convey a "strong sense of movement, a lively feel." In short, the photo needed to express "action." But Ballade was a slow, tranquil program. Ignoring the melody and insisting on using a photo with jumping action wouldn't do the program justice. Kogaito believed that if he could capture a photo that faithfully represented the tranquil world view of Ballade, the charm of both the program and Hanyu himself would be conveyed.

Thus, among the many photos taken, a miraculous shot was born. Kogaito said, "When I was pressing the shutter, I didn’t realize I had taken that photo. It was an unexpected moment while I was following Hanyu." However, he quickly came to his senses.

"That photo might not be used," Kogaito had had four opportunities to shoot Hanyu before attending the ACI. The first was at the 2017 4CC, then the WC where he made a triumphant return to the top of the world, followed by a competition in Japan in April (WTT) and an open practice in Toronto in August. Through these four opportunities, Kogaito had learned the type of photos the newspaper preferred. "A photo like this one probably wouldn’t be used. I hope I can share the worldview of Ballade that I felt at the scene with the newspaper. Figure skating is both a sport and an art, a unique competition that blends both. But the newspaper requires photos that convey simple, easy-to-understand scenes to its readers."

So, Kogaito expressed his opinion and sent that photo. The transition from film cameras to digital cameras had greatly improved convenience for photographers. Unlike film, digital cameras allowed photographers to immediately check the photos they had taken, without the worry of film costs. With digital cameras, they could continuously press the shutter without fear of failure, capturing hundreds or even thousands of shots at an event, and then select the best ones.

The photographer can choose which photos to send. The decision on which photo to use is made by the editors within the newspaper. Sometimes, the editors will collaborate with the reporters to select photos that align with the report. The photographer's role is to carefully select the photos taken on site. If the photographer strongly communicates "which photo they want to be used," it could be seen as an "infringement of the editor's domain." The photographer can choose not to say much, but by expressing their preference, they may prioritize sending the photo they want to be used.

Kogaito was the first to send the side profile of Hanyu. "I want to stake everything on this photo," he communicated, then also sent a jumping photo as an alternative. The head of the photography department at Sponichi, Nagakubo, who had been mentoring Kogaito, was very concerned about the photos he sent. When he saw the photo come through, he was momentarily shocked. "I originally thought it would be the photo of Hanyu after breaking the world record in his season opener, one with a 'How was that?' expression. However, Kogaito chose to send a photo that was different from my taste. The photo he initially sent was a side profile. He must have wanted to use that one, so I called him in Canada to confirm."

Then he said: "Yes, I want to use this one. I want to convey Hanyu's charm, so if we're going to send a photo, I’d prefer this one." The choice of which photo to use is decided by the editor on the day. Nagakubo couldn't say anything to his subordinate who had gone through the scene, became the “editor”, and took on all the responsibilities.

"This one is quite good," Nagakubo said, looking at the photo Kogaito had initially sent, speaking carefully and quietly. The editor, still somewhat doubtful, asked, "Really?" In the end, they respected Kogaito’s opinion.

 

 

 

After Kogaito sent the photos from the scene, he returned to his hotel, planning to contact the editors later after they had started work. For processing newspaper pages, there are various sports events taking place around the world, including baseball and soccer. In addition to domestic competitions in Japan, there are also events in Europe, which operates in a different time zone from North America. The editors were eager to quickly finalize Kogaito’s photos, so once their workday began, they immediately contacted him. The first message came from the newspaper. Nervously, Kogaito asked, "How do you feel about the photo I took?"

After a moment, the editor shared some unexpected news. "Nagakubo said it's quite good, so we'll use the one you initially sent."

Kogaito felt a surge of excitement inside—so they had used that photo! It would be published in the newspaper! Was it Nagakubo who accepted the suggestion, or was it coordinated with the editor? The editorial department would finalize the report and photo layout, and the next morning, the proofs would come out. During the proofing stage, revisions and title changes would be made, and the editorial department would then send it to the printing department for the ‘final draft’. The reporters, photographers, and editors involved in that day's pages would all review it. If anyone had objections, the photo and report could be changed.

Kogaito eagerly waited to see the final product and when he saw the proof on the computer, his heart soared. Hanyu's first competition of the season, along with his historic highest score, was placed at the top of the page. Accompanied by a glorious headline, it was the photo Kogaito had hoped for, capturing the "quiet and beautiful" side of Hanyu.

Nagakubo smiled wryly as he recalled the scene: "If we hadn't sent Kogaito to the scene, we wouldn't have used such a tasteful photo." The typical sports newspaper template would have used a photo filled with determination, a victory gesture, or dynamic energy. However, Kogaito's photo, which conveyed a more emotional and different perspective, reflected his choice of a softer approach. Of course, Nagakubo didn't just casually select Kogaito's photo.

Nagakubo, a longtime fan of figure skating, had passed the responsibility of the job to his junior. He saw how Kogaito worked and heard what other photographers said: "That Kogaito guy is really impressive, he works hard, you should trust him."

A hardworking junior is truly a delightful presence. Because it was Kogaito's own choice to send the photo, Nagakubo had no doubts about the decision. Nagakubo, who was closely followed by passionate figure skating fans, knew what kind of photos would be liked and whether the photos he took would be accepted. The feedback this time exceeded expectations. The online comments formed a buzz, with some even saying they wanted to make it into a postcard.  Kogaito said, "I've never seen such enthusiastic online comments, and I never sought this kind of response from the world."

No matter what kind of satisfactory photos are published on paper, readers rarely write in to say, "This is a great photo." I always approached my photography as a battle with myself. After returning home, Nagakubo printed out the comments from the comment section and gave them to me. I was so happy, and I was amazed at the response."

Kogaito's mindset changed significantly after the photo from ACI. "Up until now, sports reports always followed a fixed template, and photos were selected unconsciously based on this model. However, at that moment, I captured a photo that I truly loved, a photo I was proud of. Of course, without Hanyu's graceful lines as the subject, I wouldn't have noticed it. It was a photo like that. This photo is Hanyu's own photo."

At first, Kogaito thought the newspaper would require jump shots, but with Nagakubo's support, he chose the one that would be published on the page. The fans' response was overwhelming.

Kogaito: "I have my own worldview, and I've realized there are fans who recognize this worldview. Of course, not everyone will agree, but knowing that there are people out there who do, it gave me a lot of courage. With an understanding superior like Nagakubo who respects my ideas, my mind was instantly relieved. I can move forward in this direction."

One day, the figure skating photos in Sponichi changed. No, it was Yuzuru Hanyu's photos that changed. In other words, at this point, the photos of Japanese figure skating reports underwent a shift. It can be confidently said that this marked a significant turning point in figure skating photography.

 

 

 

Capturing the King, A Miracle Shining on the Soaring Wings

 

Kogaito realized that photographing Hanyu was not limited to the realm of sports reporting. For him, he had gained the "support" of many fans. Filled with confidence, he began to focus his lens on Hanyu.

 

The official start of the season was marked by the GP series, where Hanyu made his debut at the first Russian Cup. He dazzled in Sochi with his 4S and 4T, and since then, the evolution of figure skating jumps has never stopped. The young athletes chasing him began performing more difficult jumps like the 4Lz and combination jumps. Based on the performance and skating technique trends of the skaters in Hanyu's era, the quadruple jumps introduced by younger skaters did not contradict the mainstream trend, and some athletes adopted this strategy. An example of this is Javier Fernández from Spain, who won consecutive World Championships in 2015 and 2016. Among these strategies were those that focused on increasing the base value (BV) of jumps, as well as tactics to improve the performance component scores (PCS). From a competitive standpoint in figure skating, both approaches could be considered valid ways of scoring.

 

As the reigning king, Hanyu was unparalleled in both areas. In the 2016-17 season, during the ISU Grand Prix, he not only succeeded in landing the 4Lo for the first time but also included the 4Lz in his Olympic season plan. In August, before the Olympic season began, while in Toronto, Canada, he was once again asked by the media whether he preferred the number of jumps or the quality of the program.

 

He explained it this way: "Both jumps and expression require high quality. I believe all of these are my weapons." For Hanyu, the Russian Cup was his first GP event, and it was also the competition where he planned to include the 4Lz in his free skate. The significance of Hanyu’s new quadruple jump was not a challenge to others but could be considered a "template" for future skaters. His approach, his air posture, and his landing are all based on elements that ensure flawless execution. At the Russian Cup, the media's focus was also on whether or not Hanyu would land the 4Lz.

 

However, Kogaito believed that figure skating photos didn’t necessarily have to focus on the 4Lz.

 

“It’s clear that even if you capture a jumping photo, it can’t beat the actual footage. Television stations will surely air the footage from that day, and fans who care about Hanyu will watch the video. As a sports newspaper, we can’t avoid discussing jumps. Hanyu’s experience landing the 4Lz and his thoughts on the jump will likely come up in interviews, and this will be an essential part of the report. But does the accompanying image have to be a jump photo, or should the photographer find their own angle to capture the moment? I’m of the latter opinion."

 

Kogaito continued to photograph Hanyu during the practice sessions, capturing his attempts. During the event, Kogaito's attention was drawn to a large banner held by fans, which read “Yuzuru” in gold letters, with white wings on both sides. If the photos needed to follow a "fixed template" at the beginning of the season, it would probably be a shot of Hanyu skating during the practice session. What kind of jump would he perform? Or would he use spins and footwork to check the ice?

The journalist would write about what Hanyu looked like in the program, while the photo would serve as a “complement” to the report. In this way, Hanyu's "appearance" would be presented to the readers like a visual support, which is a method of communication.

 

However, after experiencing ACI, Kogaito saw that photos could transcend the report and communicate with the readers independently. It was no longer just a symbol from a practice session; he realized that even during practice, the charm of Hanyu could be captured. As he was thinking this, the white wings fluttered… Kogaito suddenly had a flash of inspiration: "I was thinking, when Hanyu is skating to the center, I’ll press the shutter, aim the lens, and capture that moment."

 

Then, by chance, Hanyu skated over, and the miracle happened. Between the two wings, he raised his arms towards the sky. His slender hands and soft fingertips, his gaze also lifted upwards. The banner’s wings seemed to wrap around his body, and in that instant, it was as if he was about to spread his wings and soar.

 

“This is it! This is the moment that makes a photographer’s heart race. Hanyu was even better than I had imagined, and this pose was as if he had grown wings. Even if I had aimed the camera to capture it or asked the subject to perform this action in advance, I don’t think I could have captured this shot. This is the most natural Hanyu, a miraculous shot.” Kogaito sent the photo out and promoted it to the newspaper: "I want to use this one."

 

This photo sparked a conversation among fans, and Sponichi even published it in the form of a foldable poster in the New Year's edition. The photo was treated as a special case and was extensively published.

 

Along with many significant milestones in Hanyu's life, his legend continues to grow. For example, he survived the Great East Japan Earthquake and challenged the World Championships for the first time in Nice, France, in March 2012, giving his all to Romeo and Juliet in the free skate. He became the second youngest skater in history to win at the Sochi Olympics with an explosive performance. He also collided with an overseas skater during a 6-minute practice session but still managed to complete the 2014 Cup of China despite being injured. He broke world records as the absolute champion at the 2015 NHK Trophy and Grand Prix Final. Additionally, he made a remarkable comeback in the free skate to reclaim the world champion title at the 2017 World Championships in Helsinki, Finland.

 

For fans, everyone has their own moment of getting into it, and it’s not limited to just one moment. Hanyu’s life is filled with many different milestones, all of which have become the main focus of news reports, with the photos only symbolically playing the "complementary role" in conveying these stories.

 

But the photo of Hanyu soaring with his wings was different. It was captivating because of the photo itself.

 

 

[yuzurujenn]

 Source: https://weibo.com/1683522853/P758nj4wE

 

 

Chapter 3 - Excerpts pt 3

 

Spoiler

The Photo of the Absolute King Begins to Change in Appearance

"It was originally a substance invisible to the naked eye, almost surrounded by an aura, floating as if ethereal. The photo I took was based on this imagery."

The free skate SEIMEI has already been called a legendary program of Hanyu's, and regarding this program, Kogaito is watching it for the second time after the ACI. His primary intention was to focus on the overall performance of the program when photographing it.

Even for photographers, gathering information is very important. To understand its tendencies, past videos and photos from other photographers can serve as references, but shooting in person is a rare and precious opportunity. Kogaito photographed SEIMEI from the front, above the judging seats, at the Russian Cup. When shooting from the front, he realized something. That is, SEIMEI required a tremendous amount of effort in choreography. From the front, especially close to the judging seats, it became clear how the program was expressed.

"I immediately understood that this was a program that must be shot from the front."

Kogaito thought from the beginning that he needed to make a clear distinction. "For this program, it cannot be treated like just any sports photo. I want to capture the worldview that Hanyu is expressing, those things that are attached to his body, which are invisible to the naked eye. Hanyu tries to express them. As a photographer, I was eager to capture everything, including these attachments. On the ice, during Hanyu’s SEIMEI, I could feel that there were substances surrounding him. Though it sounds abstract, this was what Hanyu was expressing. But the question was, could I capture this with my camera? While thinking about this, I pointed my lens toward him."

At this point, the photos of Hanyu Yuzuru as a subject in figure skating had undergone dramatic changes. Photos from other sports aside, the "captivating photos" style that began with Mainichi Sports was finally adopted by mainstream newspapers. Behind Kogaito, leading the way, was Nagakubo, who provided support within the newspaper company, while outside the newspaper, the fans offered their direct support. Since sports reports could only be communicated through newspapers, the internet became the channel for fans to connect with the photographer.

Mainichi Sports operated a Sponichi Annex website. Kogaito emphasized: "With the internet, there were more opportunities to publish photos myself. If it’s a newspaper, there’s only one photo, at most two. However, the space on the internet is limitless, though there’s a chance they may be overlooked. At least for one program, you can use 7-8 photos. In the newspaper, the selection of the photo ultimately comes down to the editor’s decision, but on the internet, because of the need for timeliness, it’s easier to use photos sent first by the photographer. Plus, you get immediate feedback. How the photos you selected are received becomes very clear. The photos from ACI and the soaring image from the Russian Cup became topics of conversation among fans. This was the first time I received recognition."

In the world of the internet, photos that receive little response will also face criticism, and photographers must accept this. Although it can be harsh, in a sense, the way you shoot and choose your photos is a test of your own taste. As a result, my sense of responsibility in photographing Hanyu grew. After the Russian Cup, Hanyu had the NHK Cup in the GP series, followed by the GPF, which would determine his 5th consecutive victory and Olympic selection. The question was whether there would be the 4CC or whether the Olympics would directly follow this event schedule.

However, everything took a dark turn. On the day before the NHK Cup began in November 2017, during the official practice, Hanyu fell on the landing of a 4Lz, injuring his right ankle. It was a serious injury that threatened his ability to compete in the Olympics. Hanyu would normally attend all the competitions with Kogaito there, but this time, other photographers went to capture the event, while Kogaito himself went overseas to cover the FIFA World Cup.

Kogaito saw the shocking images of Hanyu sitting on the ice online. He immediately accessed all the servers in the newspaper company to understand the situation of Hanyu after he fell, left the ice, and returned. He saved many photos of Hanyu.

After that, Hanyu missed the NHK Cup and did not participate in the GPF. He even missed the final Olympic selection event, the All-Japan Championships.

Thanks to his unquestionable accomplishments, including winning the 2017 World Championships, Hanyu secured his Olympic spot. This was his first official competition after his injury, and he directly stepped onto the stage to defend his Olympic title.
 

 

 

 

[yuzurujenn]

Source: https://weibo.com/1683522853/P8XfBggKe

https://weibo.com/1683522853/Pajt89stc

 

 

Chapter 4: Awakening

 

Spoiler

Chapter 4: Awakening

The Arrival of the Absolute King on the PyeongChang Ice

 

How much time has passed, really? After injuring his right ankle, Yuzuru Hanyu returned to Toronto and, before heading to South Korea for the Olympics, did not appear in public. Even the updates from the JSF (Japanese Skating Federation) were unclear. So, reporters, including myself, worked hard to gather information behind the scenes. To what extent had Hanyu's injury healed? How well had he adjusted for the upcoming Olympic competition? Back at the Sochi Olympics, he participated in the team event short program, which helped him perform well in the individual event. Would this time be different?

 

Every day, it’s just about confirming any updates from Toronto with the JSF board. Yoshiko Kobayashi, the figure skating reinforcement director, would always pull out her prepared notebook and read the latest news from Toronto about Hanyu. The reports varied from good to bad, but they all conveyed the message that Hanyu was determined to return. I would also pay attention to any more detailed news and try to convey it to readers through the pages of the newspaper. On the one hand, reporters had the opportunity to interview, but photographers did not have the opportunity to take pictures. Kogaito, the photographer, was simply waiting for the moment Hanyu would appear.

 

Finally, after a long period of silence, the clock towards Olympic title defense started ticking again. Unlike Sochi, Hanyu decided to skip the team event and focus on his individual competition. On February 11, Hanyu finally arrived in South Korea. At Incheon International Airport, which led to an expansive hall, a large number of media outlets gathered. I also took the KTX train from Gangneung Station, close to the Olympic venues, and waited at the arrival gate. There were not only Japanese media, but also international press and many fans eagerly awaiting his arrival. Then, Hanyu appeared. Members of the Japanese delegation surrounded him as if to protect him, and JOC (Japan Olympic Committee) staff worked to ensure his path was secure. Despite the long journey, Hanyu agreed to hold a press conference as soon as he left the airport.

 

Hanyu: “There were many competitions I couldn’t participate in, and I was very anxious about that. I did everything I could to recover, including ground training. Now, I’m adjusting in preparation for the competition. Honestly, I’m still determined to defend my title. I want to win more than anyone else. Compared to other athletes, I still have room to improve before reaching my peak.”

 

He answered the questions that the media was concerned about directly, which was a very Hanyu-style answer that understood the key points. However, Kogaito, at other competition sites, was unable to leave. After the event, he entered the company’s internal network to view photos (taken by others), and what left a deep impression was the way Hanyu cautiously left after answering the reporters' questions.

 

Kogaito: "I saw him in full fighting stance, aura so to speak, what I saw was his kingly demeanour in full swing."

 

On the 12th, Hanyu had his first official practice in South Korea. His road to defending his Olympic title was officially underway. For Kogaito, capturing a photo of Hanyu defending his crown would be the culmination of his work.

 

At the press office, the flow of online “breaking news” and photos changed in accordance with the evolving events. Regarding Hanyu’s movements, Mainichi Sports newspaper also made efforts to quickly confirm the content that needed to be posted online. The official practice on the 12th was not held on the main competition rink, but in the underground secondary rink. Kogaito had already arrived early at the rink and had a spot in mind for his shot. The previous year, the secondary rink had been used for practices during the Four Continents Championships, so Kogaito had already mentally mapped out the layout.

 

Kogaito: “I wanted to quickly convey the image of Hanyu looking full of energy to the fans. I aimed for the spot where he would enter the rink, hoping to capture the first shot.”

 

Hanyu appeared on the ice rink in a white Japanese team uniform with the Japanese logo embroidered on his left chest. He looked as if he were doing some warm-up exercises, laughing innocently and playfully, casting his gaze around. Kogaito didn’t miss the moment. He had already visualized the layout of the venue in his mind and set up his camera at the entrance and exit of the rink, ready to capture the moment Hanyu stepped onto the ice.

 

Kogaito didn’t adjust the shot but instead aimed to capture the image from a low-angle perspective, as he had planned, and successfully got the shot. This was the first time he photographed Hanyu after arriving in Pyeongchang. After Hanyu's injury at the NHK Trophy three months earlier, he hadn’t appeared at any official practices. Although Hanyu made a strong statement after landing in Incheon, South Korea, he didn’t release much more information. The performances he would give next would be the most anticipated of the Olympic Games, and fans were closely watching his every move. Hanyu’s smile at that moment indicated that he was doing well.

 

Kogaito wanted to share this photo with both readers and fans. Interestingly, in the photo, Hanyu was not holding the "partner" he usually carries, but rather a tissue box shaped like a cake. Due to sponsorship contracts, the Olympics prohibited items with any identifiable character designs.

 

Before his performance, Hanyu would do some stretching and then touch his Winnie the Pooh tissue box. However, this routine could not be followed at the Olympics.

 

 

Part 2:

Although this is a secondary venue, even without the Olympic logo in the photo, the absence of his "partner" is still an important indication that the venue is indeed the Olympic competition arena. Hanyu, who has recovered from his injury, stood on the Olympic stage. When Kogaito looked back at the scene, he believed that using these two elements in the photo was very meaningful. This was also the Olympics where online news spread rapidly. Kogaito realized the importance of breaking news at that point, and after shooting, he immediately transferred the photos to his computer and sent them to the photography department at the Tokyo headquarters.

 

As for the evaluation of this photo, it wasn’t the Hanyu who was in "battle mode" for the Olympics. It was a photo of him smiling, which may not be considered the "correct" type of photo in the traditional figure skating context. If Hanyu were competing, an editor might think that a photo of him skating on the ice would be more convincing. A jumping photo might express his comeback, but a smiling photo could be rejected. In fact, everyone, including the author, was focused on writing about the jumps Hanyu was doing. Just one fall could result in an old injury resurfacing, so the secondary venue was surrounded by an urgent sense of pressure. Hanyu performed his jumps very cautiously. Except for the Axel jump, 7 of the 8 jumps were single-rotations, the double jump was only a 2T. Only the last jump, the 3A, was a triple jump. Hanyu carefully checked the ice surface, performed 10 jumps, and made a very rare, brief 15-minute adjustment. Then he left the ice.

 

If you were to combine the report and the photos, Kogaito’s photo might seem out of place in that scene. He also admitted, "At least, such photos have not been published in sports newspapers so far. However, I personally think that the photos from the past were not very good. Nagakubo often searched for photos of Hanyu online, checking how fans would evaluate them and what kind of photos would be accepted. At that time, I didn't do that because I didn't have extra time. Back then, rather than competing with other photographers, I was more focused on taking good photos and striving to capture the ones I was satisfied with. It was Nagakubo who told me that photos of Hanyu that are cute and beautiful can capture the hearts of fans."

 

Kogaito: "Of course, my initial goal in shooting wasn’t to make the audience accept the photos or to gain fan support. Such flattering, superficial photos wouldn’t be accepted. That’s why my goal was to satisfy myself first, and if the fans were satisfied, that would be the ideal outcome. So, at that moment, I captured Hanyu’s cute side with my camera."

 

Hanyu would likely want people to capture beautiful, or even "cute" photos of him, which can be said to be part of his incredible charm. When he’s serious during competition, he certainly looks cool, but he’s also charming when he returns to his natural state. Whenever I raised my camera at the scene, I instinctively wanted to capture him, disregarding the necessary elements of sports reporting, such as jumps. I had a strong urge to capture other moments. I don’t think I have the same urge to photograph these moments with other athletes.

 

When Kogaito sent out the first photo that satisfied him, he also felt an increased sense of tension. Hanyu skating on the Olympic stage meant that results would come soon—the first men's Olympic gold defense in 66 years. After conveying the theme of the Winter Olympics, all that was on Kogaito’s mind was that moment.

 

"After the Olympics, many people will have seen about 100 photos of Hanyu. But after a month, a year, the photos gradually start to feel outdated. It’s the same with sports and reflecting on past events. Whether it’s an event or a social phenomenon, any scene will eventually condense into a single photo. Almost everyone’s memory of the moment the athlete wins the gold medal will be the same photo. I want to capture a photo that everyone will remember as the final one when recalling Hanyu’s history, especially his PyeongChang defense. Ten or twenty years later, when people reflect on Hanyu’s history and talk about his PyeongChang defense, I want them to remember the photo I took. That’s the kind of photo I want to capture."

 

Kogaito is usually a photographer who doesn't speak much, and I've never heard him talk about himself, but when reflecting on Pyeongchang, he became more talkative.

 

He said that it wasn’t confidence, but rather fear of the immense pressure.

 

He continued, "The more I understand the importance of capturing Hanyu, the more I feel scared. Honestly, while I was excited, when I raised my camera at the scene, I feared that I might not be able to make it. I feared that I might not be able to take a good photo. Considering the worldview Yuzuru Hanyu expresses and the high level of completion in his work, I wonder if I’ll be able to capture it. And when Hanyu is practicing or during official training, I can’t predict what he will do."

 

All I can say is that he does things beyond our imagination. When these surprises unfold right before my eyes, I fear whether I'll be able to handle it.

 

 

Part 3: 

"Regarding the handling of photos, I also place great importance on it. Hanyu’s photos have garnered attention from a different range of readers compared to before, so it’s not something that can be taken lightly. There is also competition between photographers. In the past, I just wanted to challenge myself. But when it came to photos of Hanyu, I didn’t want to back down. I wanted to capture the moment that symbolized his Olympic title defense. It’s not about fighting with other photographers at the same site. If you were to evaluate this aspect, I enjoy competition, and it’s a motivating factor for me. I pay attention to other photographers and also to colleagues from Mainichi in Tokyo. At that time, I was still considered an outsider from Osaka, not part of the main office. My position at the time was to capture photos that would amaze the company."

 

Kogaito always says: "There are many photographers who are better than me, and I don’t think my photos are that good. That's exactly why, if I were to digest my overly competitive mindset, it wouldn't be through taking good photos but by choosing to win through expressiveness."

He said, “Although I am not good at taking photos, I’ve always wanted to become a good photographer.

 

Take football as an example. Just because a team has excellent passers and shooters, it doesn’t necessarily mean they’ll win. Similarly, in the world of photography, sometimes even if the technical skills are lacking, one can still succeed. However, I have always struggled to capture a photo I am satisfied with. When I see other people's photos, everything is clear and perfect. On the other hand, I regret my own photos. I even dream of scenes of failure, like missing the moment when Hanyu won. I didn't know what happened (with Hanyu's victory) because I wasn't at the scene, and I panicked, shouting out in distress. It was nothing but nightmares, and it was with this mental state that I began the battle.

 

But I feel there’s this tendency that everyone’s photos are quite similar, so I started thinking about ways to take good photos. By doing so, I have a chance to win. When I took my first shot at Pyeongchang, I felt like I had found my rhythm."

 

As mentioned earlier, Hanyu performed 10 jumps that day, and the practice session only lasted 15 minutes. Kogaito was dispatched by the company with the mission to capture the Olympic record. So, he focused his lens on Hanyu’s practice session. How would Hanyu’s jumps look upon returning? That was a major focal point. What was Kogaito’s mindset at that time? The reporters at the site were all jotting down notes as they followed Hanyu’s jumps. Whether Hanyu would jump or not, if he could just capture that "evidence," that would be great. In the first official practice, whether he would jump or not, or even decide not to jump — all of these factors were likely part of his own strategic plan on the road to the Olympics.

 

"So, the jumps that day were a crucial element. Whether he jumped or not was something that could be known in the report. But how would Hanyu do it? Could we tell from his body lines and expressions? With this perspective, I focused my camera on him."

 

What surprised Kogaito was that it wasn’t the jumps but Hanyu seemingly drawing figures on the ice, skating in regular patterns. So, Kogaito captured this scene with his camera.

 

"This was my feeling at the scene. When I saw him skating the patterns, I thought he had recovered from his injury and was fine. Of course, I’m not an expert in skating, but I could tell from Hanyu’s smile."

 

That was the photo. A photo filled with a bright outlook for the Pyeongchang Olympics, showing Hanyu smiling as he skated in regular patterns. Although this photo wasn’t published in the next day’s newspaper, it was included in the photo book that was released later.

 

 

[yuzurujenn]

  Source:

 

https://weibo.com/3406979710/5112353350486583
https://weibo.com/6473801248/P5Ch5dQFo

https://weibo.com/3406979710/5112364982865505

https://weibo.com/3406979710/5112372761462522

https://weibo.com/6473801248/5112653044778645

 

 

Other Excerpts pt 1 - Kogaito Blue, 2019-2021

 

Spoiler

Kogaito’s considerations in capturing the transparent quality of Hanyu's skin

 

The ice surface reflects light, making objects appear to glow. Therefore, when photographing athletes on the ice, the brightness of the surface can make their figures look dark. If brightness is adjusted, the skin tones and overall photo will appear yellowish. In Kogaito’s view, this doesn’t correctly reflect the "transparency" of Hanyu’s skin:

 

"For a photographer, the basic theory is to faithfully recreate the scene through the lens, but if I can’t capture Hanyu’s transparency, it would be like violating that principle."

 

As a result, Kogaito chose to prioritize faithfully recreating the "transparency" of Hanyu's skin and thought of using high exposure to brighten the overall colour of the image. In the world of photography, overexposure is typically considered an error, but with this setting, the resulting image of Hanyu made his skin tone appear closer to his naturally translucent fair complexion. This is why Kogaito prefers to use overexposure when photographing Hanyu.

 

Additionally, news agency photographers must faithfully reproduce the colours of a scene. During photo reporting, a photography assistant holds a white sheet in front of the camera to allow the photographer to adjust the settings and ensure the white in the image is true white. However, Kogaito sets his camera to make white appear blue, as this better conveys Hanyu’s sense of transparency. By adding a layer of blue tones, the photos more closely resemble Hanyu’s skin transparency, with the rest of the image also taking on a faint blue tint.

 

 

2019 GP:

 

At the 2019 Grand Prix in Canada, Kogaito encountered an unexpected event. After the press conference, Kogaito waited in the hallway where the athletes would leave, holding a camera. While other photographers chose to shoot Yuzuru Hanyu during the press conference, Kogaito, after taking some shots from various angles, left the conference room. When he saw the lights illuminating the hallway, the varying strengths of the light and the background inspired his creativity.

 

"I thought that if I could capture a shot of Hanyu walking through, it would definitely make for a very cool photo."

 

After the press conference ended, Hanyu appeared. Just as Kogaito was ready to press the shutter, Hanyu, who was gradually approaching, suddenly spoke to him:

 

"Your photos of (other figure skaters, names mentioned) are really beautiful!"

 

Kogaito never expected to have the opportunity to speak with Hanyu. To him, Hanyu was like the sun, and he himself was merely a sunspot, just another photographer capturing Hanyu’s image through the lens.Even if Hanyu’s gaze lingered on one of the photos, Kogaito thought it was impossible that Hanyu would recognize his face or name. However, it was clear that Hanyu had recognized him and approached him to speak. For a moment, his hand froze on the shutter button.

 

"Even though I’m older than him, it’s embarrassing to admit that I was so nervous I became completely stiff... My heart was pounding, my pulse racing, emotions soaring. I didn’t even know what was going on, but that’s just how it felt (laughs)."

 

Facing Hanyu, who stopped and smiled as he spoke to him, Kogaito couldn’t think of anything clever to say in response.

 

"I just said 'thank you.' Honestly, just managing to say that one word was all I could do."

 

As for why Hanyu mentioned other skaters' names, Kogaito confidently said: "I think those who know Hanyu’s personality will understand. Hanyu is not likely to say things like ‘my photos are so cool’. It is his style to deliberately praise other skaters’ photos! Moreover, Hanyu not only looked at his own photos, but also looked at the photos of other skaters. I was so moved! As a photographer, his words are a huge motivation for me to keep working hard!"

 

 

Kogaito’s experience at the 2020 All Japan Championships:

 

Due to the pandemic, the 2020 All Japan Championships used a system where media outlets were assigned quotas and selected representatives to take photographs. Kogaito was chosen. However, being selected as the representative photographer meant that the photos needed to be suitable for use by all collaborating media, so they couldn’t emphasize individuality. Despite this, Kogaito decided to forgo compromise and continued to shoot using his signature method of overexposure and blue tones. On the first day the photos were sent out to various media agencies, Sponichi received complaints from other collaborating media because the photos provided by Kogaito didn’t align with the expectations of other outlets, especially non-sports media and local media, for what a sports photo should look like.

 

Kogaito said: "Because I was the representative photographer, I had to consider my colleagues in the media, but I couldn’t give up Hanyu’s transparency. I just couldn’t do it." "The colours that would work for an ordinary people just don't work when photographing Hanyu. But this point is always hard to convey. When I was asked 'Why is the portrait so white?' I was really frustrated."

 

 

 

2021 Worlds & Covid-19:

 

The 2021 World Championships were scheduled to be held in Stockholm, the capital of Sweden, and Hanyu decided to participate. Kogaito also applied to be on-site to take photos, but at that time, the management at Sponichi expressed concerns about the infection risks associated with staff travel and was unsure whether the Swedish government would issue entry permits. In this context, Kogaito looked into various ways to travel to Sweden, including entering via Qatar or Finland.

 

The entry requirements published by Sweden at the time stated that a special reason for entry needed to be provided. Since it was unclear whether reporting work would qualify, Kogaito wrote "short-term language study" as his reason for entry and also looked into language schools in Sweden.

 

At that time, some freelance photographers had already made preparations to depart, and the Yomiuri Shimbun, another news organization, was also planning to send a photographer. Sponichi had decided not to send a reporter but was still deliberating whether to send Kogaito. Despite the delay in decision-making, Kogaito told his former boss, Nagakubo, "Even if I resign from Sponichi, I still want to go to the event."

 

 

 

From the chapter "慈爱" (Compassion) regarding the two photos of Yuzuru Hanyu:

 

In the 2021 All Japan Championships, Kogaito had an especially deep impression of Hanyu’s performance.

 

It was his first competition of the season, an unexpected event, and it was also the competition that would decide the Beijing Olympic participation slots. Under such immense pressure, how would Hanyu show his competitive spirit? However, what he displayed was a demeanour that was the complete opposite of fierce determination—an ethereal expression.

 

Kogaito said, "As a figure about to face battle, he looked so fragile and ethereal, almost heartbreaking…"

 

Kogaito’s photos have a tone known as "Kogaito Blue." Regarding this, he explained: "You could say that it’s Hanyu who turned my photos blue. When I create images that suit him, the photos gradually take on a blue hue. It’s not that everything I photograph turns blue; sometimes I aim for a red tone. But during my time with Hanyu, the blue just naturally emerged in my mind. I also thought about why blue suits Hanyu so well. I think it’s because of his posture when he stands there, along with the atmosphere of his performances—so touching, fragile, and almost as if he could disappear at any moment. But at the same time, he radiates a powerful, undeniable presence. When I thought about how to capture that in a photo, I realized that blue was the most fitting colour."

 

Regarding the fighting spirit that envelops Hanyu, he said something very interesting: "Hanyu always displays a seething, blazing fighting spirit, but how should I put it, I feel that this fighting spirit is not 'yang' energy. It's not that red, burning feeling; rather, it's somewhat suppressed. Instead of a fully released fighting spirit, it’s more like it burns in a quiet way.”

 

These two photos were meant to showcase Hanyu’s unique ethereal, serene, deep blue quality, while still embodying a fiercely passionate fighting spirit—his "battle stance."

 

 

 

[yuzurujenn]

   Source:

https://weibo.com/6473801248/5113031319358140

https://weibo.com/7848586779/P5K9DwMpk

 

 

Other Excerpts pt 2 - About 2022 Beijing Olympics

 

Spoiler

Featuring the touching and somewhat humorous episode of Kogaito waiting for Yuzu in the snow:

 

 

During the Olympics, there was a mixed zone outside the Olympic Village where athletes and related personnel were accommodated. Photography was allowed here. From this spot, several hundred meters away, was the area the athletes would pass through after they arrived.

 

He was very aware that the chances of capturing a photo of Yuzuru Hanyu were slim.

 

But as long as there was even the slightest possibility, he didn’t want to miss that moment. On the 4th and 5th before the competition, Kogaito always came here. It often snowed, and he would stand there in thick clothing, enduring the sub-zero temperatures. Sometimes there would be other photographers and reporters from different news outlets, but when no one else was around, he would stand alone, waiting with his 600mm telephoto lens for that moment.

 

"Aren't you going to do anything else? Why are you just standing here?" a female staff member curiously asked.

 

"I'm waiting for Yuzuru Hanyu!" he replied.

 

The staff member nodded in understanding and said, "You're gambling on the chance of photographing a superstar! I hope you succeed!" She smiled and encouraged him.

 

For a photographer, when the subject doesn’t show up, it’s called “waiting in vain.” Day after day, the “empty wait” continued.

 

"It seems like he’s not coming today either."

 

His conversations with the female staff member slowly faded.

 

Nevertheless, believing in that small possibility and waiting was part of the job. He checked all the flights that had arrived in Beijing, calculated the travel times, and estimated that Hanyu might pass through this area sometime between the evening and 7 PM. Once he thought of it this way, he miraculously stopped feeling tired.

Other photographers from different outlets had already started shooting other events at the Olympic venues, but since Kogaito was the only photographer from Sponichi assigned to Beijing, during his wait for Hanyu, Sponichi didn’t receive any photos from Beijing.

 

 

About 4A

 

Did he succeed...?

 

However, in the next moment, Hanyu's right ankle injury finally gave way, and he collapsed onto the ice. His right ankle had already been overstrained. During the official practice the previous day, he had fallen while attempting a quadruple jump, resulting in a sprained ankle. Despite being advised to rest for ten days, he concealed the injury by using painkillers and insisted on taking to the ice for his free skate.

 

This highly difficult manoeuvre, which embodied the king’s will and pride, was not fully successful, but Hanyu made a historic attempt on the ice. His quadruple Axel was officially recognized by the International Skating Union (ISU) as a technical element, making him the first athlete in figure skating history to attempt this jump.

 

But this was not the end of the performance. Hanyu's expression was full of determination. He quickly got back up, and his eyes revealed a resolve: no matter what happened, he would complete his performance of Heaven & Earth. Even though the gold medal was now out of reach, that no longer mattered.

 

Kogaito, fully focused, pressed the shutter, and his heart swelled with excitement and emotion.

 

"Hanyu was determined to finish the program, and I couldn’t relax because of the result of the quadruple Axel. I told myself not only to capture this moment in full, but also to precisely capture every detail that came after, because this was the most important part of Hanyu’s story."

 

Hanyu poured his soul into the free skate. On the ice, he gazed up at the sky for a long time, lost in silence. In a subsequent interview, he shared the emotions deep within him:

 

"That movement symbolized ‘heaven’ in Heaven & Earth, and it expressed the image of my soul rising to the heavens. Actually, when I was 9 and skating to ‘From Russia with Love’, the final move was the same. The past me and the present me overlapped, and many complicated emotions stirred within me. It wasn’t until I finished that movement, ‘sheathing my sword,’ and left the ice that I felt it was the complete story of my performance."

 

After completing the symbolic gesture, Yuzuru returned to the edge of the rink and gently touched the ice. He then cupped the ice particles in his hands and brought them to his face, as if thanking the rink, and perhaps also marking the end of his own story.

 

As Kogaito continued to press the shutter, a sense of regret surged within him:

 

"If I had been in the ideal photographic position, I would have been able to capture Hanyu’s expression more clearly. Perhaps even the strength with which he clenched his fist, or the ice particles left in his hand. That moment could have been portrayed in a more delicate and perfect way."

 

At the PyeongChang Winter Olympics, Kogaito had captured the moment Yuzuru raised his arm in victory after winning the gold. But this time at the Beijing Winter Olympics, his lens recorded the story of this champion from the ‘back’.

 

 

[yuzurujenn]

   Source:

https://weibo.com/7848586779/P5KjPiB3T

https://weibo.com/7848586779/P5M21rKVI

https://weibo.com/3406979710/5112742656606736

 

 

Other Excerpts pt 3 - After turning professional

 

Spoiler

What a warm angel!

 

Regarding that SharePractice of Yuzuru Hanyu, Kogaito particularly mentioned a scene that left a deep impression on him:

 

"In the live broadcast, viewers flooded the comments, and Hanyu smiled when he saw all the comments coming in. I remember it was near the end of the practice, and as he looked at the comments, he seemed to be softly saying something. He covered his mouth with his left hand, joyfully chasing after the comments. This scene symbolized the interaction between him and his fans, and it was one of the highlights of the event. So, I published this photo of Yuzuru in colour on the page."

 

Soon after, Kogaito received a surprising invitation—to be the official photographer for the ice show notte stellata, which would be held in Hanyu’s hometown of Miyagi Prefecture in March 2023.

 

"Although I was the official photographer, the organizers didn’t impose many restrictions. They told me, 'We want you to take photos in your own style, feel free to express yourself.' Hearing such an invitation was truly shocking. At the same time, because the theme of the ice show involved 'earthquake disaster,' I felt a huge amount of pressure.

 

But if my photos can convey Hanyu's charm, I would be immensely grateful. I know that I’m not the main character; my role is to use my camera to convey Hanyu’s story to those who follow him."

 

Being the official photographer, a role that goes beyond traditional reporting, was a precious experience for Kogaito, allowing him to expand his horizons.

"I feel like this gave me the opportunity to step onto a new stage, which filled me with great anticipation."

 

In the past, Hanyu was always the subject of reports, and there seemed to be an "invisible wall" between them. However, being the official photographer meant crossing that "wall" and entering a different level. Kogaito described it:

 

"In this new position, I’m no longer just an external observer. I now feel like I am helping to create this performance together with him. From this perspective, I also realized that I am part of this ice show."

 

The time and opportunities for shooting increased many times over compared to the past. He was able to observe Hanyu more closely and learn more new details, which made him, as a photographer, even more eager to capture Hanyu’s charm.

 

During this collaboration, there was one particular moment that Kogaito will never forget.

 

During the rehearsal for the ice show, Hanyu proactively approached Kogaito, who was photographing. The show featured a performance between Hanyu and Kohei Uchimura, who is known as the "King of Gymnastics." Hanyu specifically asked about details of the performance, particularly about the visual effects of the curtain behind Uchimura's performance area, and asked for Kogaito’s opinion.

 

Such interaction not only surprised Kogaito, but also made him feel that his role in the ice show was more than just that of a recorder. He was part of the entire creative process. This deeper involvement made him more invested in his task and gave him a deeper understanding of Hanyu’s story.

 

"Will this scene be captured clearly?"

 

In response to Hanyu's question, Kogaito honestly replied, "The brightness difference between the ice and the curtain is too great, it’s hard to capture it clearly." Hanyu responded with professional photography terminology, "It’s an issue of exposure difference." From this exchange, Kogaito deeply felt how much Hanyu, as the director, was paying attention to the details of the entire performance. He was not only concerned about his own performance but also considering the presentation of the entire ice show from all angles.

 

Centered around Hanyu, the other skaters also blended into the performance, creating a highly accomplished show. Kogaito focused on using his camera to turn this wonderful ice show into a series of moving photographic works.

 

 

 

SOI 2023

 

During the 2023 SOI Ice Show, Kogaito, as the official photographer, decided to capture behind-the-scenes images of Hanyu. Beforehand, he was conflicted about whether his presence would affect Hanyu, intruding into a side of him that he didn’t show to the public. However, when he finally started shooting, he realized that the backstage Hanyu was completely consistent with the public-facing Hanyu. From warm-up to the opening of the performance, all the way to the end, there was no "off" state. Hanyu was always fully engaged, and no moment was unsuitable to be seen. Even backstage, where normally no one would pay attention, Hanyu unconsciously carried an awareness of being observed, and every movement was worthy of being captured.

 

 

 

 

Notte & Danny Boy

 

Another miraculous work, Danny Boy. The glowing light dots from fans' wristbands perfectly match the ice show theme, “A Sky Full of Stars”!

 

Kogaito paid special attention to Hanyu's new program, Danny Boy. "I personally feel that Hanyu is very well-suited to piano pieces. Since Introduction and Rondo Capriccioso, it’s been a long time since he performed a piano piece. Therefore, I had very high expectations for this program."

 

During the rehearsal, Kogaito briefly exchanged pleasantries with Hanyu. He didn’t say much because he believed it was more appropriate to maintain a proper distance between himself and the subject.

 

In the field of sports journalism, many media professionals enjoy forming personal relationships with athletes, even taking pride in it: "I’ve had meals with a certain athlete." "I have a great relationship with a particular competitor."

 

Kogaito, however, is not interested in such practices.

 

"Perhaps I lack that effort to actively get closer. So, I don’t deny journalists or photographers who build relationships through personal contact. However, I believe there is another way for performers and photographers to communicate—through the work itself. Through my photos, I want the subject to understand and recognize me. This is the kind of exchange I’m aiming for."

 

For Hanyu, who is often referred to as the "Sun," Kogaito always maintains boundaries. He doesn’t want to step into areas outside of figure skating. He feels that the photos he takes may not always be the best, but if Hanyu can recognize him through them, that is enough. Therefore, even in the rehearsal space where official photographers can move freely, he remained silent, focused entirely on the camera, and shot every frame with utmost dedication.

 

Regarding Danny Boy, Kogaito began thinking about how to capture the unique aura that Hanyu radiates while wearing his pure white costume, considering angles and composition. Once the performance officially began, an unexpected image became the key inspiration.

 

In the opening program notte stellata, countless tiny light points appeared behind Hanyu. These points of light came from glowing wristbands held by the audience. "I didn’t know such a scene would happen during the rehearsal. I never expected such beautiful light to pour down from the audience."

 

These unexpected glimmers added a new dimension to Kogaito’s lens, allowing him to capture a moment that was both dreamlike and emotional. This not only showcased Hanyu’s stage charm but also perfectly matched the ice show theme, "A Sky Full of Stars."

 

Each of those light points may not have been particularly bright, much like the faint stars in the distant night sky. However, when the light from numerous fans gathered together, it resembled "A Sky Full of Stars," enveloping Hanyu in a soft, twinkling glow.

 

Behind Hanyu, a large spotlight shone like a full moon. Typically, on a full moon night, the stars are obscured. However, the light points from the fans seemed to create a starry sky under the full moon. This scene became the best photographic spot inspired by notte stellata.

 

One year later, the fans in the audience created another "A Sky Full of Stars" with their light, as if responding to the starlight that Hanyu had presented the year before. Kogaito recalled:

 

"This is my imagination, but I think that for Hanyu, that 'sky full of stars' may be the presence of fans. After the Great East Japan Earthquake, he might not have been able to continue his beloved figure skating. But in the night sky of the evacuation center, he saw a ‘sky full of stars,’ which seemed to infuse him with the light of hope, almost like guiding the direction of his future.

 

Now, in his professional career, Hanyu has faced many challenges, but the constant support of his fans has turned into "sky full of stars" and always surrounds him. In the photos from that day, I felt this scene—like a response from the fans to the ‘sky full of stars’ created by Hanyu a year ago."

 

Kogaito has his own creed when it comes to photography: by capturing every movement and expression of Hanyu, the audience can naturally feel his emotions and expression. Therefore, he believes that Hanyu’s response to the fans’ "A Sky Full of Stars" is not accidental.

 

Furthermore, he noticed a change in Hanyu’s expression in his second year of professional career.

 

"I felt a kind of loving tenderness. His expression was peaceful, and the entire performance seemed to wrap people in 'goodwill,' leaving a deep impression."

 

 

[yuzurujenn]

   Source: https://weibo.com/7848586779/P5M9GoGd9

 

 

Other Excerpts pt 4 - 2nd anniversary as a Professional

 

Spoiler

On July 12, 2024, Kogaito met Yuzuru Hanyu face-to-face in a photography studio in Sendai. This interview and photoshoot were to commemorate the two-year anniversary of Hanyu's transition to a professional figure skater, coinciding with a special feature by Sponichi. Kogaito worked alongside Hanyu's exclusive reporter, Hiroaki Yamato, to handle the task.

 

Despite a very busy schedule, Hanyu made time to spend an hour and a half for interviews and a photoshoot with Sports Hochi and Sponichi. At the beginning of the session, Hanyu participated in a 10-minute joint interview, followed by 40 minutes with each media outlet for exclusive time. Sports Hochi focused on a more in-depth interview with Hanyu, while Sponichi allocated the remaining time entirely to Kogaito for a special photoshoot.

 

For this session, Kogaito chose "white" as the theme for the photoshoot.

 

The two-year milestone of Hanyu’s professional skating career is not only an important achievement but also marks the beginning of a new chapter in his third year. Hanyu continuously strives for evolution and embraces new challenges. In Kogaito's view, white symbolizes infinite possibilities; it can be infused with any colour, just as Hanyu continues to explore new areas in his skating career. Therefore, Kogaito chose "white" to represent Hanyu's state—both a starting point and a pure colour full of potential for creating a future.

 

"White is the starting point and fusion of all colours, symbolizing the infinite potential and freedom Hanyu possesses. He can always assign new meanings to himself," Kogaito explained his photographic philosophy. This photoshoot not only documented Hanyu's professional journey over the past two years but also served as a pure and hopeful symbol for the start of his third year.

 

To complement the white costume Hanyu wore, Kogaito personally selected white lace fabric. He carefully chose the lace at a fabric wholesale market in Nippori, Tokyo, to find the one that best suited Hanyu's image.

 

After changing into the shoot costume, Hanyu stood face-to-face with Kogaito. This was the first time they had a 1-on-1 photoshoot since Hanyu's first year as a professional skater during the SharePractice event at Sendai Ice Rink. At that time, Hanyu had allocated exclusive time for each media outlet, and Kogaito was impressed by his creativity.

 

During that photoshoot, Kogaito had suggested: "Like in The Phantom of the Opera or Masquerade, try placing your hand in front of your face." Upon hearing this, Hanyu immediately visualized the scene and struck several poses that met the request. Kogaito was amazed, saying, "He responded to my request with minimal direction and even showed me images beyond what I imagined."

 

This time was no different.

 

Once the set was ready, Hanyu asked, "Do you want a bright style?" Kogaito responded, "Please express a soft and profound feeling."

 

Hanyu stood barefoot behind the white lace fabric, which hung from the ceiling. Following Kogaito's suggestion, he draped the lace over his head like a veil, partially obscuring his face, and responded to several specific shooting instructions. During the photoshoot, Hanyu also selected and played background music from his phone that matched the atmosphere, adding a layer of delicate emotional expression to the shoot.

 

Through this photoshoot, Kogaito once again felt that Hanyu is not only a genius in figure skating but also possesses a strong sense of the camera and artistic expression. Every movement and glance he made accurately conveyed the photographer’s vision and even elevated it.

 

 

[Martina]

On 12/25/2024 at 5:47 PM, yuzurujenn said:

There are two photos here: one shows Hanyu, adrenaline fully flowing, posing as the absolute champion after completing his challenge. He shows a deeply serious expression, a moment where he overcame his injuries and was certain he could defend his honour. The other photo shows him from behind, challenging an unprecedented skill and ending his battle with himself, reflecting his solitary existence.

 

The background of these photos corresponds to two monumental moments: the first, after his victory in the 2018 PyeongChang Olympics where he defended his Olympic title, a feat not accomplished in 66 years; the second, when the ISU recognised him for attempting the first-ever quadruple Axel at the Beijing Olympics. The photographer of both images was Kogaito of Sponichi.

Hi,
I bought the digital version of the book while I was in Japan. These are the photos mentioned in this passage.

https://drive.google.com/file/d/1v1GUo2AwhCt8-SjkHye9Vn9zfwN7ckBa/view

https://drive.google.com/file/d/1YYbqfpka2z9vdShg6t9F6akfBhkxUwT_/view

I have no idea if there are better ways to share images on this site.

I haven't read the other messages yet, so I don't know how complete your translation is, but I can always take more screenshots if needed.

[yuzurujenn]

*Machine translation. Inaccuracies may exist*

 

 

Chapter 1: Indomitable Spirit

 

1.1 The 2014 Sochi Olympics, during the days covering the (Hanshin) Tigers

 

Spoiler

February 14, 2014. In Sochi, Russia, a new chapter was written in the history of Japanese figure skating. Competing for Japan in the men's singles event at the Sochi Winter Olympics, Yuzuru Hanyu won the gold medal, becoming the first Japanese man ever to claim Olympic gold in figure skating. At 19 years and 69 days old, he was also the second-youngest men's Olympic figure skating champion in history.

 

That season, Hanyu achieved his first victory at the Grand Prix (GP) Final held in Fukuoka in December 2013, surpassing Patrick Chan (Canada), who was a three-time world champion. He then secured victory at the All-Japan Championships at the end of the year, earning his place on the Olympic team.

 

At the Sochi Olympics, he competed in the short program of the team event before the individual event. The team event, a new competition introduced at the Sochi Olympics, featured 10 teams competing in four disciplines: men's and women's singles, pairs, and ice dance. Representatives from each country/region competed to showcase their nation's overall strength.

 

For Japan’s men’s team, besides Hanyu, Tatsuki Machida and Daisuke Takahashi were also selected. As a result, Hanyu competed in the short program and Machida in the free skate for the team event.

 

In the men's short program of the team event, Hanyu competed on the same stage as his childhood idol, Russia's Evgeni Plushenko, and scored a remarkable 97.98 points, the highest overall. Riding that momentum into the individual event, he delivered a sensational performance to "Parisienne Walkways" in the short program. His score of 101.45 points not only made him the first skater in history to break the 100-point barrier in an ISU-sanctioned competition, but also set a new world-record score at the time. Going into the free skate in first place, he made some mistakes but still held off his challengers to claim the title.

 

On March 11, 2011, Hanyu was practicing on the ice when the Great East Japan Earthquake struck, and he and his family were forced to live in an evacuation center. Even so, he continued to skate in the face of adversity.

 

In March 2012, he won the bronze medal in his debut at the World Championships, establishing himself as a strong candidate for the Olympic team. The following season, he moved to Toronto, Canada, to train under Brian Orser. There, he refined his beautifully executed quadruple toe loop and Salchow, often regarded as textbook jumps, as well as his triple Axel (a triple-and-a-half rotation jump), known for its exceptional height and distance.

 

During the 2014 Winter Olympics, Kogaito was busy working as a photographer covering the Hanshin Tigers baseball team at the Sponichi Osaka headquarters, far away from Sochi, Russia.

 

Sports newspapers differ greatly between their Tokyo and Osaka editions. In the Osaka edition, regardless of the publisher—Sponichi, Nikkan Sports, Sankei Sports, or Daily Sports—the front page is, as a rule, dominated by coverage of the Hanshin Tigers. The only exception is Sports Hochi, which primarily focuses on the Yomiuri Giants.

 

Unlike general newspapers delivered to homes, sports newspapers are not only distributed by subscription but also compete heavily in the “instant sales” market at station kiosks and convenience stores. Targeting mainly office workers, they are often quickly picked up during busy commutes, drawn in by eye-catching front-page headlines. The front page of a sports newspaper is, in effect, the “face” of that day’s edition. In the Kansai region, almost all readers are interested in the results and developments of the Hanshin Tigers.

 

Reporters and photographers assigned to cover the Hanshin Tigers, who attract strong reader attention, are known as “toraban” (Tiger beat reporters). Top-tier reporters and photographers in this role often become well-known even among general readers.

 

Kogaito was also one of these “toraban.” Day after day, he followed Hanshin news and kept pressing the shutter, aiming to capture photos worthy of the front page.

 

Hanyu’s gold medal at the Sochi Olympics was featured day after day on news programs and sports broadcasts across Japan, especially in Tokyo, sparking a nationwide frenzy. However, Kogaito only has a faint memory of such excitement in Osaka.

 

“It felt somehow distant, like something from another world,” he said.

 

To reiterate, “toraban” reporters and photographers are among the most coveted positions in Osaka’s media circles. However, Kogaito admits, “Back then, I was struggling.”

 

In Hanshin Tigers coverage, exclusive scoops on star players, as well as trades and personnel decisions, quickly make the front page. As a result, competition among “toraban” reporters is fierce. I myself once covered the Hanshin Tigers for the Sankei Shimbun. During that time, I witnessed a young sports reporter being reprimanded the following morning by the “toraban” chief simply for failing to file a brief comment from a player.

 

It is not uncommon for boys who grew up as Hanshin Tigers fans to dream of becoming newspaper reporters, only to become “toraban” staff and then request a transfer because the job is not a good fit for them.

 

Kogaito, too, was removed from the “toraban” beat not long after joining the company. However, he fought his way back and was beginning to establish himself as a respected figure within the organization.

 

It wasn’t that he wanted to run away. He simply couldn’t stand staying where he was. That is why it was so difficult.

 

“If you become a toraban reporter or photographer, there are various stories about Hanshin every season, and in Osaka they are widely covered. Having your photo appear on the front page is deeply rewarding as a photographer. But for me, I found it difficult to constantly photograph the Tigers. I have tremendous respect for colleagues who continue shooting Hanshin and build their reputations that way. It is by no means easy to keep doing it. But I am the type of person who seeks different kinds of stimulation, and I wanted new challenges. I wanted to take on not only the Olympics and the FIFA World Cup, but also other professional baseball teams besides Hanshin, Major League Baseball, and international tournaments like the World Baseball Classic (WBC) as a photographer. If I had originally chosen to become a toraban photographer, I might have maintained higher motivation. But when I decided to become a photographer, covering a specific beat was not something I had in mind, and that may have influenced things.”

 

 

1.2 Stubbornly refused to shave his head for the baseball team
 

Spoiler

Kogaito was born in 1983 in Tsu City, Mie Prefecture. From elementary school through junior high school, he was a sporty boy who was passionate about basketball. Influenced by his baseball-loving father, he also played softball in elementary school, and even during junior high school, he would go to a nearby batting cage with his father after basketball practice.

 

He was said to have been good at academics. His best subjects were Japanese, art, and physical education, and he also enjoyed writing. Overall, including other subjects, he ranked among the top students in his local junior high school.

 

He went on to Mie Prefectural Tsu High School, one of the prefecture’s top-ranked academic schools. At that time, perhaps to fulfill his father’s wish for him to play baseball, he joined the school’s baseball team. However, Kogaito would leave the team after only a year and a half.

 

The reason, which would later connect to Kogaito’s sense of pride as a photographer, was that he could not adapt to the old-fashioned atmosphere of the team.

 

The baseball team at this academically competitive high school had no connection to the Koshien tournament and was considered a weak team. Despite this, its practices were no different from those of other schools. He grew weary of the meaningless shouting and had lost the joy he once felt for baseball when he used to go to the batting cages.

 

A decisive incident occurred in the spring of his second year. One of the upperclassmen moved to change the previously unrestricted hairstyle rules.

 

“If we’re aiming for Koshien, we’ve gotta have a buzz cut, right?”

 

Those with the loudest voices set the tone, and everyone else had no choice but to follow. However, Kogaito was not convinced. Would shaving his head really guarantee a trip to Koshien? He grew fed up with such simplistic thinking and the oppressive atmosphere of conformity. Before he knew it, he was the only team member who still showed up to practice with long hair.

 

One day, the senior who insisted on a buzz cut and the team captain summoned him to the club room next to the field. “Why won’t you cut your hair? Shave it right here and now.”But the more they tried to pressure him with force, the more stubbornly he refused to shave it. The discussion went nowhere, and before long it was past 11 p.m. The only people left at school were the coach, who was turning a blind eye to the players being forced to shave their heads, and the three of them who were still continuing the argument.

 

Just then, the familiar sound of a truck engine approached the field.

 

“Let my son out (let him go home)!”

 

Kogaito knew immediately. “Dad’s here.” His father, a plasterer, hated anything dishonest or unjust. Having vaguely known that Kogaito was refusing to shave his head, he had come to check on him, worried about his son being late getting home.

 

Kogaito saw the coach rush out of the staff room onto the field.

 

In the end, the coach intervened for the first time, and it was confirmed that shaving one’s head was not mandatory. However, he felt uncomfortable in the club and soon chose to quit.

 

After quitting the baseball team, Kogaito began to follow his own path.

 

He dedicated himself to soccer, a sport almost the complete opposite of baseball.

 

Although Kogaito had been passionate about basketball and baseball during elementary and junior high school, his true “companion” during the time he spent alone after school was, in fact, a soccer ball.

 

Because his father worked as a plasterer and his mother as a nursery school teacher, both often came home late around 6–7 p.m. Because of the age difference with his older sister, who was eight years older, they never played together.

 

Due to his mother’s educational policy, there was no television at home, and he had never played video games or been interested in them. “All I could do was read books or play outside,” he said. “Basically, I liked being alone. It was easier for me to play by myself.” Even as a photographer, Kogaito prefers not to socialize in groups, which likely stems from this innate personality.

 

Practicing wall-bouncing with either a baseball or a soccer ball against a nearby wall was part of his daily routine. Even after his parents came home and dinner was finished, he would head to the wall under the overpass, calling it his “night sessions.” Relying on the light of streetlights, he would sometimes play alone until around 11 p.m.

 

“That’s why I’ve been playing with a soccer ball since the lower grades of elementary school.”

 

In addition, from first grade onward, he would run more than 5 kilometers almost every day at night to build endurance. He enjoyed running and would also run alone around the school grounds during breaks and after school.

 

“Of course I had friends. But I was more suited to working on things quietly on my own. In elementary school, if you’re good at sports, people respect you, right?”

 

In fact, Kogaito was popular at school and even served as student council president.

 

There was another reason he kept running.

 

“I’m extremely competitive.”

 

In a marathon held in first grade of elementary school, he came in first place. At the time, he felt the result simply came from running with all his might. However, he hated the idea of finishing second or lower in the annual marathon year after year, so he kept running seriously. He didn’t want to give up first place to anyone. He held onto the top spot for six years.

 

Having chosen baseball over basketball, Kogaito turned to soccer after that path closed off to him. He looked for a team that would accept him despite his lack of experience. His research led him to a youth club team in Aichi Prefecture, adjacent to Mie Prefecture. The train ride from his home took about 1.5 to 2 hours each way. Nevertheless, he kept going, determined to continue playing soccer.

 

At first, he was looked down upon by his teammates. He motivated himself by calling himself “street soccer–bred,” having honed his skills through wall practice, and made up for it with his stamina and speed. Gradually, he began to get playing time. He played as a forward and continued until his third year of high school. In his final match before retirement, they faced a strong team from the same region. They suffered a heavy defeat, but the team’s only goal came from Kogaito’s foot. “I scored the last goal myself in the end.” Along with a sense of accomplishment, it sparked in him a desire to continue playing soccer in university.

 

He went on to enter Waseda University’s School of Human Sciences, Department of Sport Sciences. He chose it partly because he wanted to become a trainer responsible for athletes’ physical care in the future, and also because he wanted to continue playing soccer at university.

 

 

1.3 Rejection from joining the club, cancellation of job offer; a series of setbacks at Waseda University

 

Spoiler

After knocking on the door of the athletic soccer club (Waseda University Association Football Club), Kogaito once again experienced a setback caused by a seemingly unreasonable situation.

 

This prestigious club, which has produced J-League players, includes a group of “sports-recommended admissions.” Other first-year students, including Kogaito, were required to pass a selection process.

 

The selection method consisted simply of running. Endurance runs and cross-country runs in a park beside the training ground were conducted, and anyone who failed to finish within the designated time was disqualified. For Kogaito, it felt like a perfect opportunity.

 

For first-year students aiming to play soccer in the athletic program at Waseda University Association Football Club, even those without recommendation status, Kogaito was at a disadvantage if judged on technical ability since he had no prior club experience. However, he did have something to rely on: endurance, built up since his elementary school days.

 

Around him were players who had been regular starters at strong high school teams, as well as those who had played in J-League youth academies. About 30 candidates took part in the selection process, but one by one, many of the promising players dropped out. In the end, Kogaito survived the race, and only fewer than ten freshmen were ultimately accepted into the club.

 

“So they even accept amateurs.”

 

He came to like the open atmosphere of Waseda University Association Football Club even more. However, when Kogaito received the membership application form, he was troubled. There was nothing to write in the section for his soccer experience. In the end, he had no choice but to list his experience in other sports and submit it.

 

He was then called in by the captain.

 

“Have you never been part of a soccer club?”

 

“No.”

 

“In the history of our club, we have never taken someone like that before. We cannot allow you to join.”

 

Kogaito was deeply shocked.

 

“In hindsight, if I had bowed my head and begged them to let me in, saying I would work hard, I might have been accepted. But at the time, I was disappointed, or rather, I accepted it, thinking, ‘So Waseda is like that too.’”

 

Kogaito joined a soccer circle made up mostly of students from the Faculty of Human Sciences. It was not part of the athletic program, but rather a group that simply played soccer for enjoyment. Events such as welcome parties for new students, summer training camps, Christmas gatherings, and farewell parties for graduating members were central to the circle’s activities, with drinking parties forming one of its main pillars. Kogaito, who was not comfortable in group settings, was never at the center of the circle and instead remained a somewhat detached participant, simply taking part in activities in a passive way.

 

Meanwhile, his preparations to pursue a career as a trainer were going well, and he also took part in an internship at a well-known gym in Japan.

Through the “e-School” distance learning program, he also gained experience working part-time as an “educational coach,” supporting students in their studies.

 

During this period, several “connections” that would later lead him toward becoming a sports photographer began to emerge.

 

For example, one of the students he worked with in class was Yukari Nakano, who was competing at the top level of women’s figure skating in the world.

 

At his internship, he also happened to meet a photographer from the major publishing company Kodansha, who was there for a photography assignment. On his first day of training, Kogaito accidentally dropped a 10-kilogram barbell plate onto his foot, breaking his little toe. He had come for a trainer internship, yet ended up needing rehabilitation himself. It was this photographer who smiled and encouraged the dejected Kogaito.

 

As a fourth-year university student, Kogaito began his job search in earnest while exploring the possibility of becoming a sports trainer. Around that time, he received a job offer from a pharmaceutical company. Later, he was also informally offered a position as a trainer at the gym where he had interned. With his future suddenly opening up, Kogaito decided to stay true to his original goal and informed the pharmaceutical company that he would decline the offer in order to pursue a career as a trainer.

 

In the summer of his fourth year, as he prepared for employment, he underwent training through an internship as a trainer. The job offer he received was from a regional gym far from Tokyo and also distant from his hometown of Mie. This period was also marked by a wave of anxiety about working as a trainer and living in a rural area all at once.

 

“I was feeling a bit nervous myself.”

 

Perhaps sensing his state of mind, a shocking incident followed. In December, just before graduation, he received an email from the gym cancelling his job offer. No clear reason was given, but it was certain that his planned career as a trainer had fallen through. As a result, his post-graduation path was suddenly left undecided.

 

At that time, the term “second-time job seeker” had not yet become common, and job hunting favored students who were still expected to graduate over those who had already graduated. Kogaito therefore felt he could not afford to graduate as things stood, and had no choice but to repeat a year in order to remain enrolled at the university.

 

 

1.4 The path to becoming a sports photographer
 

Spoiler

With his future plans suddenly back to square one and the unexpected prospect of a fifth year at university, Kogaito decided not to devote himself solely to job hunting, and instead began to entertain some unconventional ideas.

 

With an extra year of student life, his passion for football reignited.

 

“I couldn’t play soccer in the university athletic club, and I wasn’t a central figure in my circle activities either. I always had this lingering feeling of dissatisfaction, that I hadn't fully committed myself to soccer or sports in general. With my university life extended by a year, I didn’t want to just go through job hunting again. Before entering the workforce and becoming a working adult, I wanted to achieve a sense of fulfillment, something that would make me feel I had truly given it everything I had.”

 

Kogaito had his eye on a certain team, a professional beach soccer club in Okinawa that had once experienced becoming Japan’s best.

 

He was determined to somehow play there. With no connections whatsoever, he reached out to the team anyway. They replied, “Just come down and give it a try.” Delighted by those words, he made his way to Okinawa.

 

He was practically a novice at soccer and had no experience at all in beach soccer. His feet kept getting caught in the sand, which presented a different kind of difficulty compared to a dirt pitch. He started out by picking up balls, but little by little, his progress in training began to be recognized. He never had the chance to appear in official matches, but in the end, they arranged a practice match just for him. He played in an attacking position, like the forward role he had played in high school, and ran desperately across the sand.

 

“I guess I really didn’t have talent after all (laughs). But I was able to take on the challenge and bet on my potential. I can’t say I have no regrets, but I was able to end my soccer career with a sense of satisfaction.”

 

Kogaito had begun exploring job opportunities again from December of his fourth year at university. He no longer aimed to become a trainer; the disappointment of having that path taken away had also left him unmotivated. Even so, he still wanted to be involved in sports and was researching what kinds of fields might exist. During a period when he still couldn’t decide on a direction, he confided his worries to a photographer from Kodansha whom he had met during an internship.

 

“Aren’t you interested in photography?”

 

It was a world he had never even considered before, but Kogaito, who had always been good at art and liked it as a subject, began to feel a slight interest.

 

Then the photographer gave him a film camera and a digital camera. There were also five or six lenses, covering different focal lengths.

 

“You can pay me back when you make it. Just give it a try.”

 

Kogaito immediately set out on a journey with his camera in hand. He traveled around Japan and overseas as he pleased, continuously pressing the shutter. He particularly focused on photographing children, as well as the Moai statues on Easter Island in Chile and Inti Raymi in Peru, known as one of South America’s three major festivals. It was during this time that he truly experienced the simple joy of taking photographs. When he pointed the lens, the camera became a medium through which communication with children emerged. As that communication deepened, the photographs themselves began to change.  Moreover, the joy of expressing what he had captured as finished works, and the act of aiming the lens while anticipating the next moment, gave him a sensation similar to playing a sport.

 

Looking back now, this became the very foundation of him as a photographer, his original landscape, so to speak. Drawn to the world of photography, Kogaito came to want to become a sports photographer who connects sports and cameras.

 

It is said that many photographers at major newspaper companies, what are known as general newspapers, come from art universities or have been active in photography clubs during university. He felt that he could not compete with such people in terms of experience. At that time, the photographer from Kodansha whom he had consulted advised him, “Sports newspapers probably don’t care as much about experience.”

 

He realized: he could photograph sports. Sports newspapers, in fact, felt like the perfect workplace for him. Nikkan Sports, his father’s favorite newspaper, and Sports Nippon, which he often saw at train station kiosks, came to mind. He requested application forms from these two companies and began his second round of job hunting.

 

He decided he would do everything he could.

 

He contacted Yukari Nakano and asked if he could photograph her figure skating practice sessions. Nakano welcomed him warmly, and they even created a photo book. Fumie Suguri, also a Waseda University alumna who trained at the same rink, also allowed him to take photographs. This was in 2006. Suguri had placed fourth at the Turin Olympics, and Nakano was also active as a top-level skater at the time.

 

“When I look back at them now, they’re just ordinary practice photos with nothing distinctive, and it’s really embarrassing. But it was an incredibly valuable experience, and I’m truly grateful to the two of them for their cooperation.”

 

The hiring exams for sports newspapers were for general-track positions, covering reporters, photographers, and back-office staff such as HR and general affairs in a single recruitment process. Kogaito strongly emphasized his goal of becoming a sports photographer and succeeded in securing a job offer from Sports Nippon. He was a reserve candidate for Nikkan Sports. Depending on the outcome of that result, the landscape of figure skating photojournalism might have been significantly different.

 

 

1.5 Wanting to take photos unlike anyone else's

 

Spoiler

“I became a photographer because I wanted to take photos that are different from others.”

 

From the very beginning, Kogaito’s aim was to pursue an “independent path.”

 

In the world of sports photojournalism, there are certain “standard” types of photographs that are valued within the profession.

 

For example, in figure skating photography, it used to be that for male skaters, the key moment was the instant they were performing a jump, while for female skaters it was the spiral position.

 

From the skaters’ perspective, even if their jumping posture looks beautiful, the facial expression during rotation is often a moment they would prefer not to have photographed.

 

Such photographs have become less common due to criticism from readers. However, there were also other “essential elements” that were required, such as making sure the skates are visible, or that hand movements clearly convey that the skater is dancing.

 

To put it bluntly, even if a photographer captured a great expression, it was not uncommon for them to receive a harsh phone call from the desk editor responsible for selecting images for the next morning’s newspaper, saying, “You can’t even tell what sport this is from this photo.”

 

Of course, there is also logic specific to sports reporting. While television conveys the results of competitions through video footage, newspapers must tell the story with text articles and only one or two photographs.

 

In an era when fewer people are reading newspapers, the “entry points” for those who do look at the page are the headline and the photograph, which tell readers what sport the article is about. Only then do interested readers proceed to the article itself.

 

Therefore, headlines must be impactful, and photographs are required to instantly make clear which sport the article is about.

 

“Clear and simple.” Sports photographers have long been evaluated based on their ability to consistently capture such images in any situation. As a model of sports photojournalism accumulated over many years, this approach was taught by senior photographers, practiced by themselves, and passed on to juniors.

 

Kogaito, who now photographs figure skating, says:

 

“The photographs used in sports reporting that have been passed down since long ago serve the role of conveying information to a wide readership. Sports newspapers are media that primarily focus on sports reporting, but depending on the sport, the coverage is not always very in-depth. In professional baseball, for example, where a long history has been accumulated over many years, articles that appeal to knowledgeable readers are often preferred. However, when covering a general sport such as figure skating, it is necessary to create a broad, accessible, and easy-to-understand layout, like a 'general sports newspaper.' But I think that also means sports reporting articles and photographs have not been updated. It’s like, ‘Since it’s figure skating, it’s jumps, right? Photos of them skating are good, and the whole body, including the skates, should be shown.’ That ‘standard format’ was treated as the norm, and I think no one sought change.”

 

Yutaka Nagakubo, who was the head of the photography department at the time and a close confidant of Kogaido, reflects:

 

“I started photographing figure skating on-site a little before the 1998 Nagano Olympics. Back then, there were no digital cameras, and everyone used 36-exposure film. There was no time to change film during a performance, so everyone was competing over what they could capture within 36 shots. You had to take 5 or 6 shots at the beginning of the performance, capture skating movements as the routine got underway, and still save 5 or 6 shots for the final celebratory moment. That meant you could only actually photograph about 15 shots of the performance itself. At that time, Takeshi Honda was a top male skater who could perform quadruple jumps, so jumps became the main theme for men. And for women, it was the visually elegant spiral. Back then, even scenes of falls and mistakes were considered picturesque, and such images were often featured in newspapers. The photos themselves were what Kogaito called ‘standard-format’ photos—vertical shots showing the full body, which was considered the norm. The internet was still not widespread, and there was no social media, so there was no way to hear the voices of fans or readers.”

 

Subsequently, jump photos fell out of favor with the skaters, and other shots began to be used instead. Photographs capturing skaters’ expressions of joy began to be featured more often than moments of failure. However, it did not lead to a dramatic change.

 

It was in this context that Yuzuru Hanyu emerged.

 

In figure skating, which was often referred to as a “women’s sport,” he established the status of male skaters. As a skater whose high-difficulty quadruple jumps, outstanding artistry, and even off-ice expressions all became “photogenic,” he earned high acclaim not only in Japan but also in North America and Europe, and further created new fan bases across Asia, including China, Taiwan, South Korea, and Thailand.

 

And the fan base drawn to Hanyu’s appeal also began to turn their attention to sports newspapers. For the newspaper industry, which had been suffering from declining circulation and where efforts to cultivate new readership were often regarded as unrealistic directives from upper management, this was an unexpectedly favorable situation.

 

In this way, Kogaito’s work, which clearly set itself apart from conventional sports photography, came to gain support. Kogaito himself acknowledges this.

 

“I was fortunate with the era I worked in. I thought that mass-appeal photos don’t generate real excitement, and in an age overflowing with information, I don’t think broad, superficial reporting captures people’s interest. Photos that are easy for everyone to understand, in reality, may not reach anyone’s heart. When true fans pursuing Hanyu’s appeal began buying sports newspapers, I thought that if we couldn’t produce photos targeting the core figure skating audience, sports newspapers would not survive. Normally, if an inexperienced person like me said something like that, no one in the company would accept it. But there was Hanyu, a once-in-a-generation skater, as the subject, whose images could not be captured within the usual ‘standard format,’ and fans were also seeking different kinds of photos. That’s why I think my ideas, despite being somewhat unorthodox, were accepted.”

 

In fact, Kogaito acknowledges that events featuring Hanyu, such as competitions and ice shows, have an impact on the sales of sports newspapers the following morning.

 

For example, when an ice show is held in Sendai, sports newspapers are displayed in unusually large stacks at kiosks inside JR Sendai Station and at surrounding convenience stores.

 

Kogaito focused on a core fan base, pressing the shutter with the intention of creating deeply impactful and striking photographs.

 

“It’s very encouraging to know that there are new readers who pick up a sports newspaper even just a few times a year. Seeing spectators holding a copy of Sponichi around venues where Hanyu performs makes me happy and boosts my motivation. It’s a moment when I feel that my photographs are reaching people’s hearts.”

 

Of course, the decline in reading among younger generations is serious, and even if sales temporarily increase when articles about Hanyu appear in the paper, it does not stop the steady downward trend in newspaper circulation.

 

Amid this situation, newspapers have also begun to turn their attention to new content businesses.

 

One approach is enhancing articles and photographs on their websites. And what Sponichi, with its “god photographer” Kogaito, is focusing on is Yuzuru Hanyu photo books.

 

Not only the photographs published in the newspaper itself, but also emotionally perceptive images of the subject drew in a new readership.

 

The path to this point was far from easy. It took more than ten years after joining the company for Kogaito’s work, which was considered nothing more than “different” within sports photography for not adhering to “standard formats,” to come into the spotlight.