In an era dominated by high-speed digital photography and instant image processing, renowned photographer Michael Kenna continues to practice his craft using methods unchanged since 1987. His latest exhibition, "Shin Shin," currently running at London's Photographers' Gallery through January 25, showcases snow photography created through exposure times that sometimes extend up to ten hours, revealing visual information invisible to both human eyes and modern camera sensors.
The exhibition title derives from the Japanese onomatopoeia しんしん (shin shin), which describes the sound of deep, silent, falling snow. This choice reflects Kenna's nearly four-decade relationship with Japan, where he first discovered the meditative stillness that would define his photographic approach. Unlike contemporary photographers who might capture 30 frames per second, Kenna commits to single images made over entire nights, using large-format 120mm cameras and traditional silver gelatin printing processes.
Kenna's technical methodology presents significant challenges that contrast sharply with modern digital photography practices. Working entirely without digital manipulation, preview screens, or instant feedback, he relies on precise calculations of reciprocity failure and intimate knowledge of his equipment. Every print is created by hand in his Seattle darkroom using traditional silver gelatin processes, resulting in a luminosity and tonal depth that digital sensors and inkjet printers struggle to replicate. The technical demands require absolute faith in the process, as there are no opportunities for quick reshoots or immediate error correction.
The artistic rewards of this painstaking approach become evident in the exhibition's striking images. Kenna's extended exposures record visual phenomena completely invisible to normal observation: moving clouds transformed into ethereal streaks, falling snow rendered as ghostly veils, and subtle tonal gradations in predawn darkness that reveal hidden landscape details. Featured works include "Alley of Trees, Damyang, Jeollanamdo, South Korea" from 2012, "Dakekanba and Snow Barriers, Hokkaido, Japan" from 2020, and "Flock of Red Crown Cranes, Tsurui, Hokkaido, Japan" from 2005.
The photographer's background adds deeper context to his contemplative approach. Having studied for the priesthood as a young man, Kenna developed what he describes as "an appreciation for mystery and the unseen," qualities that permeate his landscape photography. His images of Japanese winter scenes—snow-covered trees arranged in minimalist compositions alongside natural and human-made forms—carry a meditative quality more aligned with spiritual practice than conventional landscape photography.
This exhibition marks Kenna's new representation by The Photographers' Gallery, bringing his work into one of the world's most respected photography institutions. The significance extends beyond artistic merit, as Kenna's prints are held in over 100 permanent institutional collections worldwide, reflecting five decades of international exhibitions. Signed prints from the exhibition start at £1,975 plus VAT, with all proceeds supporting the gallery's public programming.
Kenna's methodology offers particular relevance for contemporary photographers overwhelmed by digital imaging possibilities. While his specific techniques may seem antiquated, they demonstrate fundamental principles of light, exposure, and composition that remain essential regardless of equipment. His approach demands patience, commitment, and deep technical understanding—qualities that can enhance any photographer's work, whether using film or digital sensors.
The timing of "Shin Shin" proves especially appropriate, arriving as London enters its darkest winter months when light becomes as spare and delicate as the Japanese landscapes Kenna photographs. The exhibition provides viewers an opportunity to experience work that proves slow photography not only survives in the digital age but continues producing some of the most compelling contemporary images. For anyone questioning the relevance of traditional photographic methods, Kenna's snow photography demonstrates that certain visual experiences can only be captured through extended time and patient observation.
