KATSUHIKO TOKUNAGA, AIR-TO-AIR PHOTOGRAPHY
For almost 40 years, the photographer Katsuhiko Tokunaga has had his head in the clouds. He is not only a true master of air-to-air photography, but also one of the few who can choreograph photo shoots in zero gravity. Name a jet and chances are high that Katsuhiko Tokunaga has photographed it already. His passion lifts him through the sky all over the world in search of the perfect shot. Meeting in the middle of the air.
CAN YOU TELL US ABOUT YOUR CAREER AND HOW YOU CAME TO IN PHOTOGRAPHY ?
I was a «Spotter» at the beginning. I just went to the airfield to watch airplanes and take pictures for myself. My career as a professional photographer began while I was still at university. Japan had a particular aviation boom then, and many publications sought photos and articles. This was a time before the internet and even fax machines existed, so everyone was hungry for information. For this rea- son, even though I was still a student, I was already getting assignments in Japan and foreign countries.
WHY DID YOU CHOOSE TO SPECIALIZE IN AIR-TO-AIR SHOTS
I didn’t start air-to-air photography with any particular intention, but since aircraft are essentially things that work in the sky, I guess it was natural that I ended up in this field.
HOW DO YOU PREPARE FOR AN AIR-TO-AIR SHOOT ?
Once an aircraft has taken off, it must land. This means that shooting must be car- ried out within the limited flight time and cannot be interrupted partway through. Also, flying is expensive, so it should be done efficiently. For this reason, there is almost no time to adjust things in the air. The first step is to hold a briefing with the pilot before takeoff to decide the details of the shooting in advance.
WHAT ARE THE TECHNICAL AND LOGISTICAL CHALLENGES INVOLVED IN AN IN-FLIGHT SHOOT ?
As mentioned, you prepare everything before takeoff to ensure the shoot goes perfectly. However, since aircraft fly in three-dimensional space in the air, many uncertainties and unexpected things can happen. The most significant factor is the weather. Dealing with these things appro- priately is one of the biggest challenges.
WHAT EQUIPMENT DO YOU USE ? ARE THERE ANY SPECIFIC SETTINGS YOU PREFER ?
In the past, cameras were vulnerable to temperature and G-force changes, so special equipment modifications were neces- sary. However, today, the reliability of the equipment has significantly increased, and it is now stronger than yourself. In other words, if the environment is one in which the photographer can survive, the equip- ment will work. You do not need to use any special equipment.
HAVE YOU EVER EXPERIENCED A PARTICULARLY DANGEROUS OR UNEXPECTED SITUATION IN FLIGHT ?
Again, there are many uncertainties in the air, including the weather. The basis of aerial photography is to be prepared to avoid dangerous situations no matter what the circumstances. The number one priority is for all aircraft to land safely, and in extreme cases, even if it means not being able to take any photos, you will abort the flight and land if you feel it is dangerous.
BEYOND AESTHETIC, WHAT MESSAGE DO YOU WANT YOUR PHOTOS TO CONVEY ?
Aircraft are inherently beautiful, but I strive to capture the dynamism of flight, their harmony with the background, and the unique characteristics of each aircraft. Although this is not directly related to air- to-air photography, it is important to illus- trate the relationship between the pilots who fly them and the mechanics who maintain them.
WHAT ENCOUNTER OR MOMENT HAS HAD THE GREATEST IMPACT ON YOU ?
Aerial photography is a big industry. It requires the participation and trust of many people to materialize. Ultimately, it is the job of the pilots of the cameraship, the aircraft being photographed, and the photographer, but you cannot take the picture alone.
Also, unlike many other types of photography, you do not photograph the situation that is happening there but rather create that situation together with the pilots and then take the picture. It is a team sport that combines the pilot’s flying skills with your photography skills, and the satisfaction when everything goes well is high.
WHICH ARTWORK ARE YOU THE MOST PROUD OF ?
Each flight has a different aircraft and shooting environment, making compari sons difficult. However, as a professional photographer, I feel a greater sense of satisfaction when I am able to take the kind of photos that my clients are looking for rather than just being satisfied with myself.
CAN YOU TELL US ABOUT YOUR COLLABORATION WITH JETFLY ?
I have been photographing for Pilatus aircraft for many years, and my relationship with Jetfly began when they started operating the PC-24 directly through Gregory Le Moigne, a well-known French film director, who introduced me to his friend Cedric Lescop, CEO of Jetfly.
CONTACT : KATSUHIKO TOKUNAGA