How did Hirayama from 'Perfect Days' choose his photos?

The park also had a restroom that felt similar to the one seen in the movie. Photo by Heo Younghan

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In director Wim Wenders' film 'Perfect Days' (there are no significant spoilers for the movie in this article, and even if there were, they would not matter much in this film), the protagonist Hirayama works as a toilet cleaner in Shibuya, Tokyo. On workdays, he eats a sandwich and milk for lunch on a bench in front of a shrine, then looks up at the trees and takes a photo with his Olympus 'Mju' film camera. It is hard to say whether what he captures is the tree, the sunlight, the wind, or all of these, but one thing is certain: it is the 'present' where he is. The present is not just one thing, but every moment where the entire world and I are connected (up to this point, here and now).

I used the same model of camera for a while about 30 years ago. Compared to other automatic cameras, this one is smaller, lighter, and has better autofocus, so the photos are sharp. All the photographer has to do is slide open the lens cover, look through the viewfinder, decide what to capture and what to leave out, and when to press the shutter. No special skills or techniques are needed; it captures the present I see, indifferently yet neatly. It is similar to other automatic cameras, but also very different.

The leaves that received sunlight from above showed prominent leaf veins like capillaries. Photo by Huh Younghan

When he finishes a roll of film, he develops and prints the photos at a lab. He holds the photos in his hands, flipping through them one by one, choosing which to keep and which to discard. Among many similar photos, what is the difference between a good photo and a not-so-good one, a photo to keep and one to throw away? Of course, the standard lies within each individual.

Under the tree, this kind of scenery unfolds. It seems there was a similar scene in a movie as well. Photo by Heo Younghan

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A striking, beautiful photo with a clear message can be a good photo. A photo that is indifferent and dry, with an unclear intent but still touches the heart, can also be good. When it comes to the depth of sensation as a trace of humanity, I am more drawn to the latter. The swaying of the tree and the sunlight streaming through the branches may always look the same, but what changes each time is the photographer's mind and attitude. A seemingly insignificant moment may only touch the subconscious of the speaker and the listener, but for someone, it may stir up a certain passion.

I often took photos of a zelkova tree in the neighborhood while walking the same path. It was always the same yet different tree. Perhaps everyone has at least one tree they hold dear in their heart. Photo by Heo Younghan

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It is hard to describe the criteria by which he selects his photos. It is not conventionally well-taken photos, but those that are hard to explain yet move the heart, photos that are somehow captivating. The slightest difference in the movement of his fingers at the moment of shooting brings about a decisive difference. The photo he chooses is the one that is almost identical to all the others, but just one. Like his dreams every night that are similar yet different, like a single day that is almost the same as every other day, but just one.