I’m joining a photo exhibition organised by the Nikon Photomentary team together with 3 other professional photographers. The exhibition is held at EIZO Galleria in Ginza, Tokyo and is opening the day after tomorrow (Nov. 11) and will close on Nov. 21. Beware that they’re closed on Sundays and Mondays.
Yuga Kurita taking a photo of Diamond Fuji with a camera attached to the AN-SBR2
I have been using the AN-SBR2 Black Rapid Quick-Draw Strap for nearly a year. I can say this is one of the best items I ever got. Before I got it, I had been using normal straps that came with cameras I bought. They are, of course, usable. But the product has some remarkable advantages over them.
Nikon D5300 w/ AF-S Nikkor 85mm f/1.8G
When someone wants to take beautiful photographs, he probably buys a DSLR with a kit lens at the begning. Since he’s a novice, he doesn’t understand all jargons written in the spec sheet, and so he makes a decision based on marketing categories defined by manufacturers such as “Professional Grade” and “Consumer Grade.” As he gains knowledge on photography gradually, he realises he needs a wide aperture single-focal length lens. Then, he continues to things he never imagined that he would need such as flash units, tripods, L-plates, Arca-swiss compatible ball heads and so on. Do you know what he wants when he eventually becomes a pro level photographer? Quality gloves and a quick draw strap. No doubt about it.
Nikon D5300 w/ AF-S Nikkor 18-140mm f3.5-5.6G ED VR
According to the weather report, it is going to be fine and Fuji will probably be visible. I hate shooting in a crowded place in weekends. It is a Tuesday. I’ll probably enjoy shooting Fuji without being bothered by anyone.
I somehow wanted to go to Taikanzan, a popular vantage point to admire Fuji in Hakone. This place was haunted by legendary Japanese painter Taikan Yokoyama as he loved drawing Mt. Fuji from here. This mountain was originally called Daikanzan but was changed into Taikanzan in memory of the great painter after he died. That’s the story written in guidebooks. I’ve never found any authentic sources to prove the story though.
Sony α7 (ILCE-7) w/ FE 28-70mm F3.5-5.6 OSS (SEL2870)
I’ve always wanted to shoot Fuji from the top of Mt. Kokushigatake. I tried to climb the mountain last November, but the gate of the forest road leading to the mountain was closed earlier than usual due to heavy snow. I was very busy with my exhibition in summer. I waited for ten months, and eventually I got an opportunity to try again.
I left home at midnight heading to Oodarumi Touge (大弛峠), which is located on the northern border of Yamanashi prefecture. My house is located in the southern part of Yamanashi prefecture. According to Google Map, it takes three hours, much longer than going to Gotenba or Hakone. Two deers and one fox jumped in front of my car on my way there. Since I expected some animals would do it so I could safely avoid them. Yamanashi prefecture is one of the least populated prefectures in Japan. If you see a sign board making alert of animals, drive slowly so that you can safely avoid them.
Nikon D800E w/SIGMA ART 24-105mm F4 DG OS HSM
When you gain some experience in photography, you realise the importance of lighting. When it comes to still life and portrait photography, you can control lighting using gear such a strobe light. As far as landscape photography is concerned, you cannot basically lighten the subject. I said ‘basically’ because you can use light painting technique, for example, to lighten subjects in the foreground when shooting night photography. You can also use an electric flash to lighten plants (such as maple trees and sakura trees) in the foreground when taking backlit shots . But you can’t light up huge subjects such as Mount Fuji. For that reason, it is vitally important for landscapes to be at the right place at the right time, that is, visit a place where you can make a beautiful composition when nature gives best light. Even when we try to do so, we are at the wrong place at the wrong time at times as nature is always beyond our expectation.