12 Exposures Episode 4: Kunio Aoyama

Interview with Kunio  Aoyama, FUJIFILM Europe 

Kunio Aoyama is one of the most influential personalities in the camera world today. As General Manager of FUJIFILM Europe, he is not only responsible for key strategic decisions in the European market, but is also a passionate ambassador of photographic culture, a culture that at Fujifilm has traditionally been characterized as much by technological innovation as by respect for the history of photography. 

His career within Fujifilm began in the digital camera division, where he worked intensively on the fundamentals of photography, the development of the X series and the needs of photographers. Over the years, this developed into a perspective that always sees technology in the service of the creative experience: for Aoyama, cameras are not just devices, but tools with which people capture moments and create meaning. 

On the occasion of the joint development of two camera bags, which are distributed exclusively by Fujifilm, this conversation with Kunio Aoyama about photography, craftsmanship and the future of the camera took place at the beginning of 2026.

When did your personal relationship with photography begin, and how did your path eventually lead to Fujifilm? Was there a moment when you realized that image making and camera culture meant more to you than just technology? 

Until I joined FUJIFILM, I didn't really have any particular interest in photography. 

When I was young, I perceived photographic negatives as something "backwards", so I hardly took any photos until I was about 21. 

But after I joined FUJIFILM, my perspective changed completely. 

I was assigned to the digital camera sales department and had to study cameras and photography seriously. This made me understand that photography is about consciously perceiving and preserving the "moment of now". It transforms a "decisive moment" into something eternal. In this sense, photography is a very positive act. 

And the camera is a magical box that makes exactly that possible. 

Fujifilm cameras are often described as "crafted" rather than "built". What does craftsmanship mean to you, and how can you feel it in a camera? 

Maybe I can't explain the difference between "crafted" and "built" perfectly. But for us at FUJIFILM, the words "craft" and "craftsmanship" feel very natural and fitting. I believe that a craftsman takes responsibility for his product. We know that no camera can ever be perfect, but that doesn't mean we stop improving it. As craftsmen, we listen to all feedback, whether praise or criticism. Because the product is part of the craftsman himself. For me, this is craftsmanship. 

If you had to describe the character of taking photos with a FUJIFILM camera in one sentence - what would it be? 

Not a photo-maker, but a creator of photographic experiences. 

Film simulations are far more than technical profiles - they carry emotion and mood. What does Fujifilm want to trigger in the hearts of photographers through them? 

We know how strongly color influences the human psyche. Film simulations are one of the most important tools for photographers to express emotions. 

The history of FUJIFILM is also a history of film development: Superia, Astia, Provia, Velvia, Reala and many others. All these films were developed based on the voices of photographers, both amateur and professional. Because color reproduction should always follow the hearts of photographers. 

ACROS is considered by many to be the most authentic digital black and white experience. How did this simulation come about - and what was most important to you personally in its development? 

I really like ACROS. It was a revolutionary film simulation. It delivers true gray tones and a realistic grain that comes very close to classic black and white film. My beloved X-Pro2 was the first camera with this film simulation, so it has a special meaning for me.

However, I personally love using Classic Negative. This simulation reflects the colors of negative films from the 1980s and 1990s. Since I was born in 1978, these colors are very familiar to me. When I look at my old photos from the 80s and 90s, they have the same color reproduction as the Classic Negative film simulation. 

At a time when everyone is constantly taking photos with their smartphone, but fewer and fewer people are thinking about the image itself - how can we inspire people to really engage with photography again? 

Photography with smartphones is often "for sharing". Through smartphones and social media, photography has become a very commonplace means of communication and that is certainly one side of photography. But I think another important side is that photographyis also something personal . Before we can inspire others, we have to be touched ourselves. We should photograph subjects that really move us. An image that carries the emotions of the photographer has the power to inspire others. For this purpose, a dedicated camera can sometimes be better suited than a smartphone. 

In times of automation - where and how does real craftsmanship still take place at Fujifilm today? 

In quality control. Automation does not automatically guarantee consistent quality because every component has its own tolerances. Our task is to ensure stable quality across all production batches. Even with automated processes, there are aspects that only humans can properly take care of. That's why we believe that craftsmanship still exists today and is indispensable.

When you hold a new Fujifilm camera in your hand in five years' time, what feeling or feature must never change? 

The ease of use. A camera is a tool for art, like a guitar for a musician, a brush for a painter or a fountain pen for a writer. It must always be designed for the person who uses it.

Fujifilm and Oberwerth share values such as durability and quality. What convinced you about Oberwerth - and why is this partnership such a good fit for Fujifilm? 

Oberwerth products have a special character that attracts customers. Their durability and quality ensure that people want to use them for a long time. More importantly, the bags become even more beautiful over time. Aging together with beautiful products is something very valuable, because it is proof that you have shared many important moments together. 

How did the joint design language come about - and what elements of the Fujifilm philosophy did you want to find in the Oberwerth product? 

During the product planning and customization process, I realized that Oberwerth bags are exceptionally well designed for practical use. Every design decision and every component has a reason and a story. Even the smallest details, parts, layout and functions are based on real-world use. We at FUJIFILM very much share this approach. 

Regardless of whether you use a Fujifilm camera or not, is there a photographer from the present or the past whose work you admire? Why? 

Saul Leiter. He worked as a commercial photographer for a long time, and that work brought him a good income. His private work, especially his street photography, was hardly appreciated at the time. But he never stopped taking pictures. I think he photographed primarily for himself and in the end his personal work was valued more than his commercial assignments. 

Looking back on all your years at Fujifilm, what does photography mean to you personally? 

As I mentioned in my answer to question 1, for me photography meanstransforminga decisive moment into something eternal.