In the summer of 1988 Tatsuki Masaru spent time with Japanese truckers who take part in the unique culture of decorating their trucks – DECOTORA. Masaru explores how they used decorating to turn a job that was perhaps an ends to a means into a hobby and passion they loved. Like all subcultures the dedication and devotion these truckers have is mind blowing and fascinating.
Phantastic420 is an Instagramer based in Shizuoka Pref, Japan. With images focused on Japanese scenery around the Mount Fuji area. A lot of the shots are taken at night and I am particularly interested in the reent uploads of the Sakura in Japan which I will be around soon. I love the lighting and colours in the images, it’s making me second guess my time of shooting. In Coventry the images were coming out too dark even at twilight but i think there are so many City lights in Tokyo I might be better off shooting at night and choosing well lit areas. This is something I will have to experiment with on my digital camera whilst i’m there.
All images ©Phantastic420
I have been shooting with my Ilford sportsman recently with the intention to use it in Tokyo to shoot my final pieces, however I thought it would be best to take a back up camera just in case one gets stolen lost or breaks. So I opted for my second favoured film camera, My Praktica, it used to belong to my mum but she gave it to me when I gained an interest in photography. I used it a few times in first year but have rarely used it since.
However to my surprise I found it a lot better to work with, and more realiable that the ilford. Using my iPhone light meter app, I learned from the last 3 shoots I have done and took the reading so the vibrant lights were at level 5. The images and colours are a lot better than the ilford ones, the camera and myself just work better, it is less clunky and has more option for adapting. I also love the light glare it creates, something which the ilford does not.
I will now be using the Praktica as my primary camera and the ilford as my back up. I am also very impressed with the accuracy of the light meter app on my phone but will take a normal light meter to Tokyo as backup.
I have been using a light meter app on my iPhone to take readings for the film camera. It has really helped, one thing it has taught me today is at twilight to make the primary light level 5, that means you won’t get any over bright lights and the rest will fall into place. I also shot a lot of these images on my film camera, so once I print them tomorrow it would be interesting to see if the light meter on my phone is accurate. I really hope so as it is so handy to see the exposure as a basic starter. The iPhone wouldn’t be anything but a way of measuring light for this project as iPhones cannot pick up details within light at all.
Round 2 with the 1960’s Ilford Sportsman, I think using a tripod made so much difference, I had to consider the positioning more, at first I was weary of the cameras shutter being so stiff that the images would still be shaky but they turned out nice and still. I love the colours this camera gives off, light doesn’t bleed to much into another surface, it remains quite contrasted which will work really well with the city lights in Tokyo. The images are a little under exposed. if I want to maintain this contrast between darkness and coloured lights I will need to make sure my subject in the photographs is lit well, maybe standing near a window or using a torch on my phone to make them stand out. The images have a blue quality to them, this is probably the cameras white balance default, as it is unchangeable but I think it works really well especially against the contrasting colours like yellow, orange and red, I need to be selective in the areas I choose to shoot and make sure the lighting is orange toned rather than blue. The images are better than last time, but still need to get a better control over the light, and pre-visualise the images before I take it.
The left side of this images is really nice, but I need to balance it out with the right, a simple street flood light would balance the image well and make it less underexposed.
I’ve been posting about the making of mine and some friends Photogfraphy Gallery in second life, and it finally opens today.
and follow us on twitter… https://twitter.com/#!/FishBowlGallery
🙂 enjoy, and let us know what you think
I don’t think this technique is going to work but I wanted to try it out anyway. I’ve scanned in the fabric, edited the images to make the fibre’s stand out and then added prism light on top of them.
This image was made via using hard light on the layer options.
I then used hardlight and made the background (scan of Jades scarf) black and white and changed the colour levels to mak it more textured.
I did this again but the scarf was messy instead of neat, and used a different prism light image.
Hard Light & B&W background.
Then I tried with Martinas Scarf.
All these images are okay, they look a bit over processed though, I want to try and achieve this texture and closeness without editing too much. Thats my next task.
Mert and Marcus’ work is not what you would call ‘conventional’ fashion photography. There use of narrative and colours evoke a mysterious magical aspect that merges the border between Fashion Photography and Art Photography.
This image in particular has a lot of innocent themes, the bear being the most powerful. I don’t usually fall in love with Fashion Photographers work, I usually find their original ideas have been to compromised, like the theme could have been pushed more. But Mart and Marcus’ work does this.
I love this work, so much.