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June 30th, August 11th 2018 / 2018年6月30日、8月11日

In photographic art, you have to clarify your photography concept, that is, you need to think deeply what you want to tell people through your photographs. Ogawa, a director of SAMURAI FOTO, held a workshop to give some tips of making a photo turn to an artwork. On June 30th, we had a photo shooting session to Oku-Nikko, Tochigi prefecture. There, all the participants needed to find a right object for their photography and shot some photographs. Then they learned editing the photos in Ogawa’s workshop on August 11th. He provided a technique for editing the photograph and we learned a better way of giving a message of our own through the artwork.
フォトグラフィック・アートは「私はこれを伝えたい」というオリジナルなコンセプトが明確に表現されている必要があります。どんな条件下であってもこのアート表現ができるように、SAMURAI FOTOのディレクターである写真家・小川勝久先生の指導による撮影会と画像調整勉強会を行ないました。撮影は6月30日に奥日光(栃木県)にて。全員が近い場所の中で「これを表現したい」というものを自分の感性で見つけ、8月11日の勉強会では見る人に作者のコンセプトが伝わりながらも、気持ちのよい表現になる画像調整のテクニックを小川先生から教えていただきました 。

Members’ artworks and Ogawa’s advice for them

Hiroyasu Sato / 佐藤 裕保

His photography concept is a fresh green forest and a coolish waterfront. He added the sense of depth to express the deep forest. Also, he expressed a quiet air and space by adding a filtering of the light through the trees.

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Ogawa’s advice
He put so many elements in the photo. It looks just a snap photograph. Many people think that darken the black color makes the photo look good, but it’s not always right.

Sato thought of what the photography was for him. To make better artworks, he needs to reconsider how to convey his feelings through the photograph.

Yumiko Suga / 須賀 由美子

The object of her photograph is saxifrage, or rockfoil. It is a wild flower and has a lot of tiny white flowers about 15mm size. It grows wild in the rocky and marshy places where is mostly in the shadow. She took photographs of bunch of the bright flowers and shadow of the forest reflecting water surface.

Ogawa’s advice
It’s good that she picked the place where she felt comfortable as the setting for her photography. And she tried to convey her feelings in the photograph. If the boundary of the water surface under the follower was expressed clearer, the photo would give us more pleasant impression.

Ogawa’s advice
In this case, the lower quarter of this photo should be cut out. It makes the image clearer. Before shooting the pictures, we need to have the clear image and envision the message that you strongly convey to.

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Michiko Chiyoda / 千代田 路子

The ancient black wall of Nikko Tosho-gu shrine creates its beauty feature and we feel the depth of history with the various stories. She chose the wall for her photographic object. She overlaid the image of a creature on the picture of the wall and made it like a picture scroll.

Ogawa’s advice
Have a clear focus on this picture. Try to utilize the white space effectively. Not only do make you the artworks that the objects appear here and there in a whole paper or darkish and unclear ones, but also you try to utilize the white space of the paper effectively.

She printed her picture on two kinds of Ise-washi paper, Fusho and unbleached kouzo paper. She thought unbleached one fits her artworks. Fusho is yellowish paper but it seems closer to white when the picture is printed. She wanted the picture look antique, so she thought a little brownish paper would be perfect for her photograph.

Kouji Sasaki / 佐々木 浩二

He got inspired by bride’s back in Shiromuku, which is Japanese traditional white kimono for wedding. He wanted to capture the beauty of the white kimono and the bride’s hidden feelings, he took a long time for editing the photograph.

The original color of silk for Shiromuku isn’t pure white but a little yellowish. The color softens the impression. To highlight the softness of Shiromuku, he expressed the whole image in black except the bride in Shiromuku.

Ogawa’s advice
The composition of the photo is very powerful. It’s not just a snapshot of Japanese traditional wedding. People might think of various things for themselves when they see this picture. The bride’s back shows everything. Meanwhile, the broom is simply expressed in black kimono with a family crest on his back.

Kazuhiro Sasaki / 佐々木 一弘

Nikko is famous for its rich water and sunshine of a forest, and he wanted to express this area as a sacred place for Tokugawa shogun family. He superimposed a picture of Senjogahara on the picture of fresh stream that flew the gutter of the approach of Toshogu Shrine. Furthermore, he put over the picture of the crest of Tokugawa family.

Ogawa’s advice
The first impression of this photo is dark. Ogawa said he liked the idea. But it’s better to show that the shrine got back its splendorous feature after the long renovation.

Based on Ogawa’s advice, he adjusted the images. To express water in the picture, he used blue colored layer and adjusted the opacity. And to emphasize the flow of water, he added one more picture of fresh stream.

Noriko Aoyama / 青山 紀子

As Aoyama couldn’t come to the shooting session this time, she brought a picture of decaying sunflower that she had taken before to the workshop.This picture is processed in Photoshop too much. Also, the picture gives a dark impression and the photographer’s negative attitude is appeared.
撮影会に参加できなかった青山さんは以前に撮影していた朽ちていくヒマワリを作品にして持参した SP武川 タケガワ 07-07-0179 コンパクトクールキット 3フィン4オイルライン HONDA GROM。小川先生からは「Photoshopでの加工が出過ぎているのと、作品が暗く作者のネガティブな要素が出ている」とのこと。

Ogawa’s advice
Ogawa recommend her to make an artwork that gives a positive message. Also he advised to make an artwork based on white color. He told her to check Toshio Tabuchi’s Japanese paintings.

Hiroaki Hasumi / 蓮見 浩明

Hasumi chose Yomei-mon Gate of the Nikko Toshogu shrine as the object. Whenever he sees the gate, he got impressed by its fineness. The fineness of the sculpture shows Japanese sensitively. He used a dedicated monochrome ink, Piezography K7, and printed the picture on Ilford smooth cotton paper.
蓮見さんが選んだのは日光東照宮の陽明門。何度見てもその精細なつくりに感動する陽明門を通じて、日本人そのものが見えてくると思ったからだそうだ。モノクロ専用Piezography K7インクを使って、イルフォードスムースコットン紙にプリントした ICON アイコン ライディングジャケット RAIDEN UX JACKET [ライデン UX ジャケット] サイズ:XL。

Ogawa’s advice
It’s important to create a photo with high-resolution in Photoshop when the cultural asset is chosen as the objects for the artwork. The 70-20mm sized lens that Hasumi used this time is not enough for this kind of photographs. Ogawa said he should have used 100mm sized single focus lens. Then put images together and adjust the sharpness in Photoshop. So we can see the contrast of the photograph.
小川先生からは「このような文化財を被写体とする場合には解像力が大切。今回使用した70-20mmズームレンズでは解像力が甘い。100mmくらいの単焦点レンズで撮影して画像をつなぎ合わせるのがいいだろう ■DIXCEL(ディクセル) フォード トーラス 3.0/3.8 FA5U2/TS382/FA542 FORD TAURUS ブレーキローター フロント SD TYPE。また、エッジが強くなりすぎないようにして正しいシャープネスをかけるといい」といわれた。

Motoko Sato / 佐藤 素子

Sato created two kinds of black and white artworks. One is a landscape photograph and the other is a photograph of a wall mural. She tried not to destroy the air of the freshness of this sacred place. Each of them looks cozy in black and color gradation, said Ogawa.

Ogawa’s advice
The front color is inverted, it needs to be adjusted. Sharpen the image of tree that is at foremost, and the picture will be much better. To express the depth in black and white picture, think of the gap of wide angle and brightness. This is the adjusted image followed Ogawa’s advice.

Ogawa said that he likes the idea of the fern on the old wall but there are still many to learn and think for the composition. Blur of the fern isn’t needed, but try to show it clearer. It gets better if the fern is shown in full screen. Sato thanked Ogawa’s advice, and she got good and bad points about her artwork. She will think deeply what she can do for her future works.
小川先生からは「古い板壁に植物を描いたという方向性はいいが、まだ消化不足。シダの描写のボケはいらないのでクッキリと。シダを画面にもっと大きくいっぱいに入れるといい」という指摘をいただき、佐藤さんは今後の課題が見えてきたという 生活用品・インテリア・雑貨 アライ(ARAI) ジェットヘルメット SZ-G アルミナシルバー L 59-60cm 【USA在庫あり】 Winderosa コンプリートガスケットセット Arctic Cat LC ツイン 800cc 0934-0313 HD店。

15インチソリオMA15系ENKEI オール オールワン マシニングガンメタ 5.0Jx15エナセーブ RV504 165/60R15

15インチソリオMA15系ENKEI オール オールワン マシニングガンメタ 5.0Jx15エナセーブ RV504 165/60R15

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