I first met Michael Nguyen on a beautiful spring day in Tokyo, the flowers in bloom. We were in a Shibuya park on Meiji Dori, where an anti-nuke rally climaxed in a costumed hippie drum offensive, bursting in the dappled light. If I remember correctly, Mike had a can of beer and a cigarette (he likes his tobacco, lights it with a Zippo with a dazzling flair that would make a seamus smile). It didn’t take long to establish friendship: he was a Gaucho and so was I, alumni of University of California at Santa Barbara, meaning we’d both known Paradise as younger men and that this heady knowledge acquired as twenty-year-olds had affected our lifelong trajectories. I’ve only known Mike for about two years but judging by his photography, I can see he’s never discarded the pleasures introduced in Santa Barbara. It’s nice to see that he’s still trailing after beautiful manifestations, glad he sees fit to share his gleaning with the rest of us. Mike’s wonderfully eccentric street tableaux aside, he’s well-known among his peers for his bathing beauties—what has been called his “babe in the onsen” motif, but really that is simplifying and involves not a little envy. There is an element in fantasy in such an intimate, sensual image. After all, most of us photographers are not Lothario types, and an attractive woman will not be seduced by the size of our lens. Something more is at work, something mysterious, which I suppose is a secret, and a well-guarded one.

We at HESO then are proud to present a sample of Michael’s work—his women, and because it’s spring, his flowers, for what better way to illustrate the ephemeral beauty that breaks our hearts, then to complement these lithe, youthful figures with the ambassadors of spring, in which we are reminded we have yet another chance to set things right.

A Floating World in Bloom – Interview with Michael Nguyen

A Floating World in Bloom - HESO Interviews Tokyo-based photographer Michael NguyenHESO: Why photography? Why not painting? Or music? Or triathlons?

Michael Nguyen: If you have ever heard me at karaoke then you would know why not music. Photography and painting do not necessarily really differ in terms of how we experience time and space, but the creation phase is different. Painting starts out in the light and develops gradually, but remains visible the entire time. A photo captures a scene all at once and is then developed over time in a dark laboratory. Digital is changing all of that, but that’s another story. Photography for me is the best means of expressing and hanging on to those little fleeting splinters of life we experience each day.

HESO: How did you get into photography? I believe you majored in it at UC Santa Barbara. Do you think studying the subject at university has made you a better photographer?

MN: I was a graphic design major actually. I started taking photography classes in college and fell in love with the zen state of mind in the darkroom. I can’t say I really learned much in college, nothing I couldn’t have learned by going to galleries myself and looking at books and hanging out with other photographers.

HESO: Which cameras do you prefer? And why? Does shooting with film matter?

MN: Ah, the obligatory gear porn question. I suppose it depends on what I shoot. For street photography I have my Leica M6 with a 50mm Sumicron, which is good for much single-subject shots. For portraits and landscape I have my Rolleiflex Sl66 for the slower process and higher film resolution, basically a Hassy with bellows that allows me to play around with the focal plane. I haven’t seen anyone else using one. To keep the film vs digital debate succinct, I’m of the opinion that from a personal expression point-of-view, the process does matter and the process of shooting film slows things down and allows one to think with deeper clarity. It doesn’t help that I’m a sentimental motherfucker who clings to bygone things. The well-worn cliche here being if it ain’t broke don’t fix it. There was nothing wrong with film photography when digital came along. Which isn’t to say that digital is bad or anything per se–it makes commercial work more efficient and streamlined, but it hasn’t added anything to the art form.

HESO: Though we are featuring a series of flowers and feminine beauty, you’re a bit of a street photographer as well. What is it you’re looking for on the street?

MN: Other than the typical “I wanna capture the fleeting moments of life” schpiel, street photography is my way of sticking it to the man so to speak. Like poker, the house always wins. Every now and then the perfect hand comes and you happen to bet big and take down the house. Most of the time we take shitty snapshots of mundane objects, but when that perfect moment comes where you’re at the right place at the right time and had the right settings on your camera, and, well, that time is beautiful.

HESO: Do you enjoy shooting in Japan better than elsewhere? How is it different than shooting in the States?

MN: Difficult to answer really. It wasn’t until I got to Japan that I took it seriously. So I can’t say I’ve had a good attempt at really shooting in other places. I did recently go to Spain however and found the light there to feel harsh and low, quite challenging.

A Floating World in Bloom - HESO Interviews Tokyo-based photographer Michael NguyenHESO: What is the most difficult aspect of being a photographer today?

MN: Coming up with something groundbreaking and new since everything seems like its been done. Cliche is the enemy.

HESO: So much good photography in my experience is due the serendipitous moment. Share with us a story of accidental good fortune.

MN: In life anyway, accidental is the only kind of good fortune I get. As far as photography, I can’t go as far as to say I’ve had any true serendipitous moments. You always try to be in the place with the best possibility of seeing something interesting and be prepared as best as you can. Photography isn’t a terrible John Cusack movie.

HESO: Flowers, youth, the elegant form of the female nude… what else do you find beautiful in this world?

MN: That’s just about it! Haha. With the sensory overload in this day and age I’ve become so jaded and numb that anything that stimulates any kind of emotion, good or bad, is beautiful in this world. Being rather immature for my age however, beauty remains a superficial thing unfortunately…

HESO: Your photos presented herein are just lovely. Any chance they’ll become part and parcel of a more comprehensive project on beauty?

MN: Ideally yes. but again like I mentioned earlier its really hard not to do cliche and redundant things, so who knows. I’m torn between just getting out there or hold out till I have something mind blowing. waiting for that epiphany.

HESO: You are somewhat notorious among your friends for the ‘babe in the onsen’ motif, but a lot of the ribbing is just jealousy. They would love to imitate you if only they could! Any tips for guys on making their beautiful girlfriends comfortable enough to pose in such intimate circumstances?

MN: Lots of booze! Seriously though, women tend to be insecure creatures. Reassuring them of how sexy they are and showing your passion in having them as such an integral part of your vision is key. Everyone just wants to feel needed and loved.

See more of Michael’s work here.