Rio Yamamoto ｜ PHOTOGRAPHER

Rio Yamamoto
A photographer and member of the artist collective "81BASTARDS." A skateboard enthusiast.
Special novelty items for the campaign starting on Thursday, March 20, 2025 at KICKS LAB. This is an interview with Rio Yamamoto, who supervised the design.

–– I would like to ask you about your background as a photographer. First, what made you start taking photographs?

R: My father had photography as a hobby, and we had a single-lens reflex camera and a darkroom at home. I started taking photos seriously when I traveled alone to Canada for two months during my summer vacation from university. I wasn't interested in photography at the time, so I brought along a few disposable cameras to record my trip, and traveled from Vancouver to Toronto by long-distance bus. On the way, I came across a beautiful lake while hiking alone, and I thought, "I want to share this feeling with my family," so I took a picture with a disposable camera.
However, when I returned to Japan and developed and printed the photos, I was disappointed to find that they did not convey the same emotion at all. I had imagined the quality of the photos to be like those taken by professional photographers, but it was completely different. From there, I began to wonder, "How can I take photos that move people?" and I became obsessed with photography. After that, my father gave me an Olympus single-lens reflex camera, and that's when I started taking photos.

–– So it wasn't the shock of seeing something and thinking, "Wow, this is so moving!", but rather the feeling of "Frustrated!" when you looked at the photos you had taken and they were different to what you had imagined!

R: That's right! I was like, "It's so frustrating!" That's when I started thinking about how to take photos like professional photographers do.

–– So it's surprising that it all started with the Disposable Camera!

R: Really! I thought the same thing when I was talking (laughs). I was surprised to find out that it was connected (laughs).

–– So what made you start photographing street and skate culture?

R: I've been skateboarding as a hobby since I was in middle school, and a local friend of mine was looking for a photographer to launch the board brand "Lesque skateboards". He asked me, "Rio, you take photos, right?" That's how I got involved. There were other candidates, but since it was before the brand was launched, they wanted to keep it a secret, so I ended up being involved as their exclusive photographer.
At that time, the top riders in Japan gathered at Lesk, and they showed performances beyond my imagination, so it was worth filming them. However, I was a beginner at filming skateboarding, and I only had a film camera at the time, so I was nervous every time about whether I got the shots right. They were also putting their bodies on the line to film, so I would watch skate videos at home and practice shutter timing with the video remote in one hand, so that I wouldn't make any mistakes (laughs).

Photo: Rio Yamamoto / Rider: Lesque Skateboards

–– Are there any photographers who have influenced you?

R: Brian Gaberman is an overseas photographer. I was shocked when I first saw his photos. I had a subscription to a skate magazine called "Skateboader" that I ordered from the US, and he was the photo editor of the magazine, and his photos were often published. His use of light and printing techniques were really amazing, and I felt that "the photos of skateboarding look like works of art." I always bought the magazines that had his photos, and when I watched a skate video, if there was even a moment when a photographer other than him was shooting, I would stop and study what lighting and equipment they were using.

–– Is there anything you keep in mind when shooting?

R: When I was taking skateboarding photos, I was conscious of dividing them into two categories. I took photos of the riders using strobes, and photos I took for my own work. Of course, I took photos for the riders, who were the main characters, but when I had an image of a situation that could be used for a work, I would ask the rider, "I want to shoot like this." I was particularly conscious of composition and light. Lighting is really important. I also pursued shooting using natural light, like Brian Gaberman. When I took photos for my own work, I didn't mind if the riders were silhouetted as long as the light was good, and prioritized my own expression.

–– Trust with the rider is important!

R: That's right. I'm not good at shooting right away on the first meeting, so I talk to a certain extent and get comfortable with the person before starting the shoot. By sharing each other's intentions and building a relationship of trust, the work goes smoothly and it's fun.

–– Tell us about the camera you use.

R: For this shoot, <adidas Originals × KICKS LAB. Original FUJIFILM disposable camera>, I used a Nikon F4. This was the first camera I bought myself 20 years ago, and when I first started taking photos, I used to take street snapshots in Shibuya and Shinjuku. Landscapes and buildings, etc. At the time, I wasn't very good at taking photos of people, so I could only take them secretly (laughs).

I finally overcame this when I started working under my master, who I had been working as an assistant to. I also love using a panoramic camera called the Fujifilm TX1. When I saw a panoramic photo in an overseas skate magazine, I was amazed and thought, "There's an idea like that!" So I researched it and bought one right away. I often take this camera with me when I travel.

–– The photo design for this latest disposable camera has a similar feel, doesn’t it?

R: Yes, it was the same this time. When I first started using photography, I often came to Shibuya or Harajuku in the morning to take photos, and it was the same time of day and the atmosphere was the same.

–– Wow, that's interesting! It feels like we've gone back to the basics!

R: That's funny! I just noticed that now (laughs).

–– What do you think about the differences between digital and film?

R: When I first started using digital cameras, I hated them for some reason, but now digital is an indispensable tool for my work. I've really benefited from them (laughs). I can respond to my clients' requests quickly, it's easy to manage data, and in a sense, there's no risk of mistakes. On the other hand, the appeal of film is that it has limitations. In the case of negative film, the exposure and color are decided to a certain extent at the shooting stage, so it's easier to decide, "I like this feeling, so I'll go with this," than with data that can be tweaked endlessly like digital.

It's interesting that even in this digital age, there are still many people who seek the unique atmosphere of film. When I was interviewed during a previous photo exhibition, I was asked, "Why do you insist on using film?" In the end, all I could answer was, "Because I like the texture and atmosphere." (laughs) But I think that's the charm that's engraved in people's DNA.

–– What do street and skate culture mean to you, Rio?

R: That’s difficult (laughs). It would be presumptuous of me to talk about it.

-- (lol)

–– So what made you start skating?

R: My older brother liked punk and showed me a music video of a foreign punk band. There was a scene where skaters were cruising around the city, and I thought, "Skateboarding looks fun! It's cool!" That's what got me started. I was in my third year of junior high school at the time, but I didn't have any friends around me who were into skateboarding, so at first I just practiced in front of our house (laughs).

–– What do you keep in mind when communicating during a shoot?

R: I often skated with skaters before shooting. There weren't many skate photographers at the time, so I naturally got to know more faces. Everyone is familiar with each other at events, so skaters naturally become friends with each other. When I was working with the Lesque crew, I was a behind-the-scenes photographer, but for some reason I was asked to sign autographs at local shops and events (laughs). It was like, "Oh, are you sure you want me?" (laughs) Looking back, I think we were able to communicate in a natural way because we had a common language, skating.

Photo: Rio Yamamoto / Rider: Masataka Yamashiro

Photo: Rio Yamamoto / Rider: Masataka Yamashiro

––Have you ever collaborated with a brand or artist?

R: I don't have many collaborations... I only released a T-shirt with a skateboarding photo about 15 years ago... Now I don't have a "work"... At that time, I made skateboarding photos into a work and held a solo exhibition once a year, but since I stopped taking skateboarding photos, I didn't know what theme to shoot. I take photos when I travel, but they don't have any cohesion, and they don't become works... I take photos to display at home when I'm satisfied with them, but I don't have any works to show to other people now. I can't find a theme. In the past, I had skateboarding, so I went to take photos even if I didn't want to, and I had a strong desire to take photos. With skateboarding, I had a lot of images like "I want to take this kind of image! I want to show this to people other than riding photos!" But that's gone, and I don't know what to shoot as a work. So now I'm concentrating on my work!

–– Is there a difference in your mindset when shooting for a brand and when taking independent street snaps?

R: Brand photography is client work, so the client's wishes are the main premise, but I also expand on the brand image in my own way. I'm a serious person who doesn't like to play around, and since I do a lot of product photography, the premise is that I take pictures of exactly what the client wants as part of my job. Furthermore, even if the client says that it's okay if I just take this much, I try to be conscious of responding to their request while also proposing a different shot in my own way, saying, "How about this?" That's something I learned from my mentor, but I'm always conscious of having to take pictures that go beyond what the other person wants.

Photo: Rio Yamamoto / Rider: Shintaro Hongo

––What do you think about the influence that KICKS LAB. and adidas have on the streets?

R: I follow adidas Skateboarding, and I really like the brand image, so I look at it and use it as reference. Their in-house photographers and videographers are also influential, so I follow them. As for adidas Skateboarding, I feel that they have contributed a lot to skate culture. Their photos and videos have the brand's style, and I think they have a unique atmosphere. I feel that people who are more artistic, starting with Mark Gonzales, are gathering at adidas. They're not just good at skating, but many of them have artistic qualities.

Even in the PROJECT LAB. space, I get the impression that KICKS LAB. is not just a store that sells sneakers, but that they are also promoting themselves together with artists. Other sneaker stores also hold events and pop-ups, but KICKS LAB. always gives the impression of incorporating an artistic element!

–– Thank you. So, Rio, do you have any vision or message for the future?

R: Can I advertise it? (laughs) My friend runs a magazine called ".OWT." It's pronounced "out," but if you read it backwards, it means "TWO." There are two interviews per issue, and the background of those people is that they have some kind of skate culture.

R: It's a magazine that is self-produced and self-published by a photographer from Okinawa called Goya Shingo, and from the second issue onwards I've been involved not just with photography but with video. When I saw the first issue I thought it was great, and I really like the photos that Shingo takes, personally.

.OWT. He asked me if I wanted to go with him when he said he wanted to go to Sweden to do some interviews, and I thought, "I want to go to Sweden with him!" But I thought it would be weird for two photographers to do an interview together (laughs). It was originally Shingo's magazine after all. So I thought, why not take a video of the interview as a record? Actually, I had been interested in video for a while before that conversation, and I had bought an 8mm film camera called Super8. I wanted to try video, but I couldn't do digital. But I thought film would be good, so I was secretly doing it (laughs).

Sometimes I get asked if I can do video for work, but I clearly say "no." I try to introduce people who work with video. I only do video for .OWT. or privately (laughs). However, after I was no longer able to take photographs, I found film video as a new "theme" that I felt was my work, so I want to do this and continue doing it. I'd like to be able to release it only when an image comes to me and I want to shoot it, not all the time. It's one of my visions for the future.

–– Is there anything you would like to do in the future?

R: In an ideal world, I would like to do photography and video in about half and half (laughs). I just said that I don't do video client work. I can't do paid work. But by video, I don't mean I want to be involved in interesting projects, rather than work. Even if I had an environment where I could shoot video digitally, there would be no point in joining a group of video professionals now, and I haven't even mastered photography yet. I'm afraid that if I do both, I'll end up doing them half-heartedly, so I try not to do it.

However, as a personal project, I would like to try 8mm film or even 16mm film, but I think it's not realistic financially. I would also like to work with someone else as a video team, and if there was a project where I could pay for the film materials myself, I might accept it (laughs).

–– I'm sure you have many opportunities to see photos and videos taken by other people, but when you see them, do you ever think that you could take better photos?

R: I think so. But I also feel like people probably think the same way. There are times when I see visual images made by some manufacturer and think they are cool, and to be honest, there are times when I think I can take better pictures than that. However, that is just what I think, and when I'm actually told to do it, I can't do it. I think I can do it in my head, but when it comes to actually putting it into practice, it's often much more difficult than I imagined.

I hear stories sometimes about people taking photos of celebrities, but the photos aren't considered particularly good, and yet they become very famous. Because the subject is a celebrity. Some people criticize it, saying, "Of course, if you take a photo of that person, you'll become famous." But I think it's a certain talent and effort of the photographer to be able to take a photo of that person. Without that connection, they wouldn't get the job, and I think it's only because of the connections, skills, and humanity that they have to reach that level.

–– At the beginning you said that you feel a bit uncomfortable taking pictures of people, but if you were offered a job to photograph people, would you accept it?

R: Recently, I've been turning them down and handing them over to other photographers. My sense of inadequacy is starting to emerge again... (laughs) I can take photos of people I know or have a good relationship with, but I'm not so good with people I've never met before or women... I'm not good at talking (laughs) so I have to be careful with people I've never met before and it makes me tired. If I say this, people might think I'm not good with people (laughs) But that's ok! As long as I can take photos of products and landscapes. Everyone has their own strengths and weaknesses (laughs)

–– I see (laughs) I look forward to working with you in the future! (laughs)

–– Finally, what did you think when you were first asked by KICKS LAB. to design the packaging for the instant camera we were commissioned to create?

R: I've only become aware of this since smartphones and digital cameras came out, but I think the <Utsurundesu> is amazing. The SLR cameras we use require a little extra effort to control focus, exposure, and bokeh. That's one way to take good photos, but I think the <Utsurundesu> is the best camera for casually taking snapshots of friends. Even if you point the camera at someone, you can take a picture without having to hold it up like a smartphone, and it takes the picture faster than a smartphone. I think it's the camera that can release the shutter the fastest in the world (laughs).

When I worked with another brand before, I was asked if there was anything I wanted to do, and I said I wanted to design for a ＜Utsurundesu＞! At that time, various circumstances prevented it from happening, but when I was asked this time, I replied, "I want to do it right away!" I had been very interested in it for a long time and wanted to do it! Then, I was asked by KICKS LAB. (laughs) I was so happy!

–– How did the idea for this packaging design come about?

R: When I heard the theme for this project was "travel," I took the word "travel" seriously and initially thought it might be a panoramic photo of scenery I'd taken when I went abroad, but since many of the customers who come to KICKS LAB. are from overseas, I thought I'd go with a Japanese landscape and went to Shibuya. I think the center of Japanese culture is Shibuya and Harajuku, where KICKS LAB. is located, so I wanted to incorporate that scenery into the design.

Also, since it's a package for a disposable camera, I thought it wouldn't work without using photos taken on film. I had the photos I usually take on film developed at the camera shop and had them printed and actually torn up. This kind of thing can be made with retouching, but I wanted to create the feel of an analogue print, so I actually tore them up myself and thought up the layout, which was quite a struggle... I couldn't imagine it just by making it flat, so I actually put it together in a three-dimensional form and made it through trial and error.

–– We asked Rio to do the design because we were sure he would create something cool, but even we couldn't imagine what kind of design it would end up being (laughs). We're glad that it turned out so cool!

–– I imagine that the approaches to photography and design are different, but was there anything you paid particular attention to when designing this piece?

R: At the shooting stage, I had an idea in mind, but to be honest, I couldn't even see half of the final product. I didn't have the benefit of digital technology, so I was a little scared that I wouldn't know how the film would turn out until it was developed (laughs). It's scary to not be able to see what's going to come out until it's developed, but there was still the excitement of film. I felt that excitement and nervousness about how the photo would turn out, but I had no choice but to trust in what was coming. In the end, those who believed were saved (laughs).

As for the design, I trusted my hands and tore and folded the material, even failing at tearing it many times... (laughs) But the idea was in my head from the beginning, so I just became absorbed in trying this and that to get closer to that image by hand.

–– That's interesting! Hearing those kinds of design background and stories has definitely changed the way I see this design! Thank you very much.

–– I think this camera will be available to customers around the end of this month. It will be during spring break in Japan. This is a time when we will see an increase in customers not only from overseas but also from other parts of Japan, so I think it will be a very welcome souvenir. It has a Tokyo feel to it.

R: That's true. I'd love it if this camera could become a souvenir.

–– What were your impressions when you actually held the finished product in your hands?

R: The finished product turned out just as I imagined, and the colors came out just as beautifully as I expected, so I'm very happy!

–– That's great! Thank you!

–– What did you feel through this collaboration with KICKS LAB.? Is there anything you would like to do again in the future?

R: It's the ultimate reward for a photographer, and it's also a design job that I've always wanted to try, so I'm really happy about this request. I think it'll be hard to create something even more interesting than this in the future (laughs). I think it's great that I was able to be involved in this project, as it's also one of my works!

–– In addition to the package design, we also asked you to take product photos. Would you be interested in doing this type of project again in the future?

R: I think so! I'd like to try it. I really like making things like this, and I think analog is the right fit for me. There aren't many clients who let me do this kind of thing, and KICKS LAB. accepts that side of me, so it's very rewarding. I love having clients like that who let me do what I want! (laughs)

–– Thank you! It's gotten long, but I look forward to working with you in the future!

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Comment from Rio Yamamoto:

The theme of this design is "Travel". Harajuku and Shibuya are the centers of street fashion. Speaking of Tokyo, everyone has passed through Shibuya Scramble Crossing at least once. Even though it's a familiar sight to me, I'm always surprised by the number of people crossing the Shibuya Scramble Crossing. With the sneaker shop KICKS LAB. in mind, I took photos of the feet of people passing by at the "world's busiest intersection" with a film camera and reflected them in the design. I heard that many of the customers who visit KICKS LAB. are tourists from overseas, so I think it would be interesting if the instant camera could become a topic of conversation for them about their souvenirs.

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Photo: Rio Yamamoto

Photo: Rio Yamamoto / Rider: Shota Yamazaki

Photo: Rio Yamamoto / Rider: Toru Shinjo

Photo: Rio Yamamoto / Rider: Masataka Yamashiro

Photo: Rio Yamamoto / Rider: Yuichi "Sansei" Igei

Photo: Rio Yamamoto / Rider: Toru Shinjo

Photo: Rio Yamamoto / Rider: Tomoharu Miyazato

Photo: Rio Yamamoto / Rider: Kevin "Spanky" Long

Photo: Rio Yamamoto

■KICKS LAB. app members who purchase adidas products for 16,000 yen or more (excluding tax) at a KICKS LAB. store or online store during the campaign period will receive an original adidas Originals x KICKS LAB. FUJIFILM Instax camera designed by Rio Yamamoto.
>>Please see the NEWS page for details.