ONTOSHIKI PHOTOGRAPHY

Interview: Sean Wood

ontoshiki — Fri, 18 May 2012 19:24:24 +0000

Sean Wood | Born: Sydney, Australia | Currently: Tokyo, Japan

In Shibuya, a little less than a year ago, I bumped into this guy for the first time. He had a Rollei around his neck so I struck a conversation with him. It wasn’t long before I realized he was an artist going by the alias of “50mm” or ”motion-id” whose work I have admired for sometime. Keeping in contact occasionally since that time, I finally had a chance to ask him for an interview. I’d like to thank him for taking time out to share his thoughts with us on art, philosophy and photography.

Q1a) Could you tell me about yourself? A bit of background, work and how you arrived in Tokyo,Japan.

My background is in visual effects, animation and interactive story telling. I’ve lived in Sydney, Hong Kong (twice) and now live in Tokyo. I work as creative director for an international organization taking care of their web presence and my wife is the reason I’m in Japan.

Q1b) You seem to focus on a variety of different subjects including street photography, portraiture, still life and nature. What got you into photography and what kind of subjects gives you the itch to press the shutter?

What got me into Photography was when I joined an advertising agency. Until then for twenty plus years, design had been my work and hobby. When I joined the agency, design became a job and I didn’t want much to do with it after work hours. So I picked up a camera as an alternative creative outlet.

At first I was just trying to figure out how to use it but over time I was drawn to shooting people. Coming from Australia where the population is significantly less I find watching a sea of people on a daily basis a little perplexing. People just seem to walk around in their own world. Head down, eyes glazed, headphones on (or phone in front of face). And yet if you watched everyone long enough you could spot the characters in the crowd or at least notice people as individuals when they are all desperately trying to blend in.

Japan has a culture of not wanting to stand out (you can stand out as long as you do it as a group. But that’s a whole other story) and I guess I was motivated to shoot people because I was seeing these individualism’s that everyone was trying to ignore. This I guess was what I was trying to capture initially.

Once you start shooting you start looking around to see if anyone is shooting the same subjects and discover there is no stone left unturned. But from this you start to learn of other photography and are drawn to the styles and subjects that inspire. And this I guess is what lead me to diversify.

Subjects that inspire me to press the shutter would depend on what is influencing me at the time. Now, unless I am shooting a particular series I’m not pressing the shutter that often.

Q2) What were your inspirations and influences? Are there any past or current photographers you admire?

Influences would be from films. No specific films just certain scenes, clever framing or great light or both producing some great atmosphere. Inspiration is a different story. For me it can come from anywhere. But I usually gain most inspiration from learning how other people have made things and how they overcame their challenges. I find it as interesting if not more to hear someones point of view on why they have shot a subject than to look at the images alone. Learning the way others see thing’s can be inspiring and really get you thinking.

Photographers that inspire – too many to mention.

Q3) You have a distinct visual style half your photos being an exploration of darkness, the other half of light as per your flickr sets.

I remember you told me the last time we met that you only shoot at night since you usually push process your frames. How has your style evolved through the years and are you satisfied with your visual style?

I don’t know if I have a style. If I do it’s not from any kind of plan

More than anything I’m looking to reflect an atmosphere or mood which is why some of my pictures tend to be dark or light. This is mainly why I look to shoot film also. The film for me gives a built in atmosphere that is sometimes lost with digital (for me). I’d prefer to make the development process and the film itself a part of creating the image rather than trying to “make” the image after the fact in photoshop.

If I have a style I guess it’s evolved with subject I’m shooting the film I use. Different cameras lend themselves to different situations and certain films behave in different ways so both of these can influence, to a degree, the style you can produce.

I would say that it will take many more years for my style to evolve. I haven’t even begun to scratch the surface of developing a style if you were to compare with great photographers. My good friend Thomas Orand introduced me to a photographer named Arimoto san. The guy has been shooting the same camera, same film using the same development process for twenty years. HE has a style. Once you see work from people like this whom have a lifetime investment in their work you can see the payoff. But that’s part of the fun. The fact photography can be so broad and so deep.

Q4) Just by going through your photos,You seem to have a huge arsenal of equipment from medium format, 35mm to polaroids. For the hardware geeks out there, what gear do you shoot with? Any personal favorites or cameras you’d love to try out?

Camera’s are a tool that help execute or explore an idea. Some Camera’s are suited to different tasks and I guess over time I’ve wanted to explore different idea’s which is why I have a few Camera’s.

Favorites seem to be the Hasselblad and Rolleiflex. I really like the square format because it’s not the norm and for some reason the square format appeals. For digital it’s my 1d mark 3. It’s a little old now but the focus is something that once experienced you can’t live without. I have a 5d mark 2. That’s my manual focus digital camera. Makes beautiful images but has the worst auto focus in the world. I have an EOS 3 for using the canon lenses with film and I also have a Bessa R2A with a few lenses when I don’t want to lug around an SLR. I’ve also inherited a few cameras such as the Olympus Pen S and the Rollei 35 which has an amazing lens but is a fiddle to use. Camera’s I’d like to try? The Graphlex Super D with a Polaroid back with an Aero Ektar lens. But I’m in no rush

Q5) Are there any favorite locations in Tokyo that you love shooting in? Why? Any places you’d love to shoot that you haven’t already done?

I use to shoot in Shibuya multiple times a week, mainly because of the diversity of people and the light available at night. But I grew tired of that after a few years haven’t made much of an effort to explore locations. I guess my subject focus changed. Right now is my local neighborhood. I’m starting to see all the old houses disappearing and I’m wanting to capture these before they all vanish.

Finding locations in Tokyo to shoot is really not easy. It’s really dependent on the subject and the time of day (or even time of year). The other week I was riding along Tama river at about 5:30am towards the mountains before a storm. The light was just amazing but I didn’t have a camera. A month has past now and the light is different and the sun rises earlier. Perhaps I can still grab a chance but it takes dedication to find these places and then make them look interesting when you shoot them.

Q6) I am from Australia myself having lived there for 18 years, though I wasn’t immersed in photography at the time. I’d be interested to know from your experience, how is shooting in Japan different to Australia?

Tokyo vs Sydney:

The light is very different. Sydney tends to have more space between buildings and lets the light in down to the streets. This can result is getting great shadows in the late afternoon. Something that’s hard to find in Tokyo mainly because of the lack of space.

The night lights in Sydney are different and have a different temperature which gives a very different feeling. And Sydney is much less crowded than Tokyo so to shoot people you have to be very obvious which can be a bit of a danger. In Tokyo it’s much easier to shoot people (or it’s safer in any case).

I’d like to have shot more of Japan in general but haven’t as yet which is why I can’t comment on shooting in the rest of Japan. But if I was to shoot in both countries I’d choose winter in Australia because of the light and probably early spring, autumn and winter in Japan. Unless I get up at 3am in Summer in Japan the light just doesn’t appeal.

Q7) I’m sure your background being an Art director has had a profound impact on your photographic style. What do you think are the essential elements of being an art director?

Ability to communicate an idea and listen to others.

Q8) As a photographer, what has been your biggest achievement? or project?

I’ll let you know when it comes.

Q9) Photography for many is a very serene, spiritual endeavor. What is your connection with the spiritual world (if any) and do you believe in God?

If some people find photography a spiritual endeavor I’d say I have more to learn before I reach that state.

Q10) You’ve told me recently you’ve been working like a mad scientist in the development room to try to reduce dev time. Apart from that, are there any other personal projects or exhibitions that you are working on at the moment?

I do have one ongoing project. I’m shooting portraits. I guess this is what I’m doing in between other projects.
But the mad scientist development project is still on going and is actually eating up a fair amount of time. It is close to completion though which I’m excited about.

Please thank Sean for his effort by checking out more of his incredible photos and adding a comment to share your thoughts:

http://www.flickr.com/photos/motionid/

http://50mm.jp/

Photos of typhoon striking Tokyo

ontoshiki — Fri, 18 May 2012 04:18:38 +0000

When a typhoon hits Tokyo, there isn’t really much to fear. In the 6 years I’ve lived in Tokyo , every time a warning is issued there has never been any danger. I remember days of drinking beer with my colleagues after work on days of typhoons . The wind in your face was refreshing.

Here are some photos of the April 2012 typhoon that hit Tokyo. This particular typhoon that hit was obviously dangerous, especially for the elderly and children as random objects flew like projectiles. News reported that one elderly woman was killed when the wind knocked her over and she hit her head – rest her soul. I was in the middle of my work day , wearing a suit with no umbrella but I decided to take my 35mm and shoot a little. I came back with mostly blurry, out of focus frames as a result of rain all over my lens and terrible case of camera shake due to the gusty winds.

A man holding onto his luggage for life. The trick is, during a typhoon, not to carry an umbrella © Ontoshiki

Tokyo-ites seem to be good at using an umbrella against the wind © Ontoshiki

a long walk past a pedestrian crossing © Ontoshiki

man running across zebra crossing © Ontoshiki

broken umbrella © Ontoshiki

woman without umbrella retreats © Ontoshiki

another broken umbrella © Ontoshiki

man braves the typhoon as others run for cover © Ontoshiki

typhoon doesn't stop alcohol delivery at drunkards alley © Ontoshiki

running for cover © Ontoshiki

gale force winds © Ontoshiki

man nearly getting his trolley blown away © Ontoshiki

probably the most vicious corner in SBU during a typhoon © Ontoshiki

man adds another broken umbrella to the graveyard © Ontoshiki

R.I.P © Ontoshiki

————

Japanese airlines canceled hundreds of flights, some train services were halted and thousands of workers went home early as some of the strongest winds in more than 50 years hit Tokyo today.

The weather agency issued a tornado warning for the Tokyo area after the storm dumped as much as 6 centimeters (2.4 inches) of rain an hour in central Japan as it crossed from the southwest, with winds gusting up to 140 kilometers (87 miles) an hour. An 82-year-old woman died after being knocked over by the wind and hitting her head, national broadcaster NHK reported.

A storm passing over Japan is seen in this satellite image acquired at 13:00 JST, on Tuesday, April 3, 2012. Source: Japan Meteorological Agency via Bloomberg

“Our company closed early but I stayed longer to finish work,” said Akio Fukuzaki, an engineer waiting in line at a Tokyo train station for operations to resume. “I should have left earlier.”

As many as 11,500 households have lost power because of the storm in Toyama and Ishikawa prefectures, Hokuriku Electric Power Co. (9505) said in a statement. At least 60 people have been injured in 17 prefectures, NHK reported, showing a golf driving range destroyed in Hiroshima in western Japan.

Sustained winds in Tokyo may reach 90 kph during its evening peak, Takeo Tanaka, head of the weather advisory office at theJapan Meteorological Agency, said in a telephone interview. That would make it the strongest storm to hit the capital since 1959, when Tokyo was buffeted by winds of 97 kph, data from the weather agency show.

“People should try to avoid going out,” Tanaka said. “It’s very unusual for Tokyo to have such strong winds when there’s not a typhoon,” he said, referring to the tropical storms that regularly strike Japan between May and October.

sourced from:

http://www.bloomberg.com/news/2012-04-03/japan-s-strongest-storm-since-1959-forecast-to-slam-into-tokyo.html

Interview: Ian Brumpton

ontoshiki — Tue, 08 May 2012 17:09:05 +0000

“It’s a new dawn, it’s a new day, it’s a new life for me, and I’m feeling good.” - Nina Simone.

Street Photographer: Ian Brumpton | Country of Origin: Geordie, UK | Current Residence: UK, London

Q1) Could you give us a bit of background on how you grew up and who and what were your greatest inspirations and influences? Is photography your main source of income and if so, how did you get to where you are now?

Grew up in Newcastle-on-Tyne (Hence a Geordie) in North-East England and had a pretty happy conventional childhood. Guess we were working class but didn’t really find that out till I went to University Both parents worked hard to give my brother and I a good start probably as neither of them had much of an education Dad left school at 15 and Mum at 16. So I guess I had a work ethic drummed into me from an early age – which is no bad thing when you look back. My brother and I are both creative’s (He writes children’s books and for TV) but it’s a bit of a mystery where the creativity came from…

I came quite late to photography only been doing street for 4-5 years but two early photographic influences of mine were Oscar Marzaroli who worked in Glasgow and Jimmy Forsyth a near blind documentary photographer who worked in Newcastle and I was lucky enough to meet, sadly he was only really discovered as an old man. In both of them I liked the naturalistic way that they documented ordinary people’s lives, though at that time I had no plans to be a photographer myself.

http://www.oscarmarzaroli.com/
http://www.amber-online.com/exhibitions/scotswood-road

Some of the photographers whose work I look at again and again are Erica McDonald, Weegee, Roy deCarava and Vivian Maier I’m especially interested in both Street and Documentary photographers.

Photography isn’t my main source of income, it would be nice if it was but in these times it seems almost impossible. In my day job I have mostly worked in marketing which I also enjoy. My career really has always been a bit of a battle between pragmatically earning money and following a more creative path true to my heart. It’s a dilemma that’s quite common to many photographers I’m sure.

Hopefully my photography will become more lucrative as time goes by and I develop my portfolio and work. Objectively I think my work is fairly commercial and certainly popular with the general public so If anyone has some great ideas on how I can monetise my work please drop me a line !

Q2) Why did street photography choose you?

In a way it’s a natural progression from my first passion which was writing. Going back twenty years I used to write for television, mostly comedy initially but later into drama. I think the disciplines of writing and street photography have quite a lot in common, they both require an interest and observation of the world and more importantly the people around you. They are both ways of telling the stories of ordinary people and trying to present them in a way that will be accessible and enjoyable to your audience and at the same time trying to show your own personality, style and point of view in the way you present those stories. They both require strong observational skills and for me empathy with the people you are portraying be it with words or with a photograph.

I still have a great urge to write but little time, I have started writing a play this year about one of my heroes Paul Robeson the singer (and so much more) and the time he lived in England but it might be quite a long time before I finish it..

Q3) What is it like shooting in London as compare to other places that you’ve been to or that you’ve seen?

Anywhere in the world you would love to shoot?

To be honest London like most big cities is easy to shoot in, I never have any bother with the authorities or the general public. For street photographers working in a small town environment I have a lot of respect as their job is so much more difficult. In my hometown Newcastle people are far more likely to challenge me when taking photographs (i.e ‘why are you taking my photograph?’) and it does mean you have to work differently, usually more consensually, even with candid shots.

I am a happy traveller – aside from Iraq & Afghanistan I’d be happy to take my camera anywhere given the chance, would love to have a crack at Moscow, Lagos would be wild and some of the big cities in China.

Q4) What gear do you shoot with?

Simple rangefinders suit my style best as I like to work unobtrusively and close, £300 is the most I’ve ever spent on a camera (Mainly because I’m usually broke). If someone was to offer me a nice Leica or a Hasselblad I probably wouldn’t say no though I just take one camera with me, my trusty Panasonic which I’ve had for 4 years and it still does the business.

Q5) Could you share with us a unique or favorite tactic that you use on the street?

I do like a hipshot. For me don’t worry about how many shots you take on any given day and how good they are – we all have good and bad days, good and bad luck, the most important thing is to take all the shots that you see in your mind. When I go home and I can honestly say to myself, well I took all the shots I saw – that’s when I’m happiest with my day’s shooting.

Q5) Out of all your photos , do you have a favourite? Why? … and favourite artwork or photo of another person? dead, alive , famous or not.

‘To a better place’ is my favourite. I titled and took it as a tribute to my Mother just after she died of cancer in 2009 and it helps me to remember her passing in a positive light.

"To a better place" © Ian Brumpton

I love art and indeed I also paint myself sometimes, pushed to pick someone I would go for Yoshitomo Nara he’s endlessly entertaining and I love the world he lives in.

http://art-documents.tumblr.com/post/3681558397/yoshitomo-nara-at-armory-show2011

Q6) A question that I’d personally like to know. I see that you’ve shot in Paris. Ill be going to Paris in a few months. As far as shooting street photography, I have heard it is quite frowned upon and often difficult. For example, if I wanted to have a street photo published and there’s a recognizable face I would need a release form. What are your thoughts?

Yes I believe you need permission to use someone’s photo you’ve taken candidly – which is pretty restricting so I guess stick more to portraits and semi-consensual shots where you can approach the subject afterwards. Personally I found shooting in Paris no more difficult than London except the laws on what is permissable after you have taken the photograph. I tend to shoot first and worry later…

Q7) Many photographers shoot and artists draw as a means of meditation or self-exploration. What is your connection with spirituality and do you believe in God?

No belief in God and no spirituality for me. Creative expression in any format of course is a voyage of self-exploration and discovery to find the person you really are and what’s really important in your belief system that you want to share with the world. Personally of all the creative things I’ve done I would say painting gave me the most reward – I could work for hours and forget everyone and everything except what I was painting – in that sense it’s wonderfully escapist.

Q8) I see you’ve been published in several magazines. As a photographer, what has been your biggest achievement?

Probably the March issue of Life Force Magazine featuring alongside Larry Fink, would be nice to follow in his footsteps.

www.lifeforcemagazine.com/photo-essays.htm

Q9) Any projects or exhibitions you are working on at the moment?

I have some documentary work planned but need a period of free time to get it going so for the moment just carrying on with street shooting in my spare time.

Q10) Where do you see your photography going in the future and how are you evolving as a photographer? And some last words or advice for your fans and followers

As with the previous question I see myself moving into some serious documentary projects in the coming years alongside my street work, there are a lot of stories out there I would like to tell and I have some strong ideas.

Last advice… Many photographers at one time or another will lose their confidence or mojo if you like. It’s something we all go through, I follow a few hundred photographers quite closely and it’s easy to see when it happens. It’s like falling off a horse, you really need to get straight back on again, if you lose your confidence in taking candid shots or even in your own ability – whatever you do don’t hang up your camera, try photographing different things, be they flowers, graffiti or your partner, keep shooting and keep the faith and the mojo will return !

“Life's a gamble.” - Ian Brumpton ©

To follow Ian Brumpton’s work you can go to the following websites:

Flickr: http://www.flickr.com/photos/ianbrumpton/

Official: http://www.ianbrumpton.com

** Thanks to Ian for taking time out to answer with such depth and insight. Don’t forget to add me to Facebook as I will add regular interviews & photography updates to my blog posts.

www.facebook.com/ontoshiki

Tokyo Fetish Party: Department H (May 2012)

ontoshiki — Sun, 06 May 2012 19:47:47 +0000

Since I started to shoot some underground events in Tokyo, I met some cool contacts who attend these parties regularly. They introduced me to a fetish underground event called “Department H” – H for HENTAI (the name originally coined from Marvel Universe ) so I decided to check it out. This particular one had a “Rubber & Latex” theme so many of the guests dressed up in full latex outfits. I must admit it was pretty cool to see all types of people attend the event ; everyone was free to act as they please and be who they want to be without being judged. Here are some photos from the event. Special thanks to the Aiko, Eri, Chiaki and Chisato.

this guy was the elevator usher

Mei

Yumiko

Eri Zabeth

Aiko

Chiaki

Eri is the "condom girl" promoting safe sex

Chisato & Mei

geeky stuff! well I'm a transformers fan so this is pretty wicked

drag queen

new half?

DJs spinning tunes til the break of dawn. no alcohol sold but drinks & food can be brought into the premises.

Over 200-250 people turned up and there was a huge rubber & latex stage performance, some singing and dancing, exhibition booths. Just a word of warning, there will be some dudes jerking off in dark corners so it’s not your typical nightclub event. Overall some interesting costumes and great place to hang out to check out freedom and creativity on full-display.

Sometimes when you look around society and its flaws and superficiality, you can’t help but feel relaxed and free from inhibitions in a place like this. Society’s media machine has defined what’s normal and acceptable but at least for a night all the guests here can be themselves and escape from society’s pigeonholing.

To view more photos please go to the gallery:

http://ontoshiki.photoshelter.com/gallery/Department-H-May-2012/G00007sBIiWkp9TE/C0000GiW9QSaB_EQ

Zakuro

Photoshoot: La Voisine D’en Face

ontoshiki — Fri, 04 May 2012 19:55:27 +0000

Photos from my latest series: “la voisine d’en face” (my neighbour across the street) with model “camellia”

For the entire series, the you can view the slideshow below:

Prints can be purchased here:

http://ontoshiki.photoshelter.com/gallery/la-voisine-den-face-my-neighbour-across-the-street/G0000CYlSpZrcrfk/C00006erl3WC3Q_w

How I got a paid assignment from an NGO/NPO (Non-Profit Organisation)

ontoshiki — Wed, 02 May 2012 16:21:32 +0000

I’d like to share this information with everyone because I believe the sharing of know-how and information which may lead to another person’s success is also crucial to one’s personal success. Of course, much like a magician such as David Blaine or Criss Angel, there are certain tricks that they wouldn’t divulge so I can’t reveal everything. The law of Universal abundance states that, your desires , if you really believe and visualize them can and will manifest itself in your life. “Ask and you shall receive . Give and you will receive.” This is a key Universal Law that determines the flow of abundance and prosperity in our life experience. In a perfect world where everyone is sharing and caring, there will be enough food, prosperity and resources for everyone.

I must admit when I got an email and call from JT International’s Manager of Corporate Communications & Philanthropy, I was caught totally by surprise. On top of that, after negotiations, I was offered an all-expenses paid trip to travel around Tohoku,Japan for 3-4 days with an hourly wage to boot. The hourly wage was equivalent to more than one-month’s salary of my normal day job. Yes, some NGO groups do allocate a large portion of donations to their marketing and advertising budget in order to attract more future charitable donations.

So, how did I land a paid assignment with Japan Tobacco’s JTI Foundation?

For many of you who have followed my photostream on Flickr , you may already have heard this story or are at least familiar with what I did up in Tohoku. I joined Flickr in 2005 needing an online portal to share my photo snaps of parties and weddings with my friends. In 2006, I moved from Australia to Japan and when I first stepped foot on this new country, I was constantly bombarded and overwhelmed with new visual stimuli. I found Japan such an interesting, inspiring and culturally different place to anywhere I’ve ever been before and that started my journey into documenting my daily life. This eventually led me to purchasing a DSLR in late 2008 and exploring the many talented amateur and professional photographers alike on Flickr in order to improve my photography. A year later, I delved into the world of film photography which was something I did when I was in high school only this time, I studied and analyzed the processes, compositions and techniques rather than simply “going through the motions.”

Fast-forward to 2011 where I’ve had a few paid portrait sessions under my belt and built a reasonably decent “amateur” portfolio. Then came 3.11, Japan was jolted by the massive quakes and ensuing tsunamis. The devastation and havoc it caused really struck a chord with me and I went into a deep self-instropective road trip, alone, down to the south and west of Japan. A month after in April, instead of living in fear and helplessness I wanted to do something and to see for myself what had actually happened on the coastlines of Miyagi. I set out to document what I saw on the shores of Arahama, Wakayabashi and I rented a car and drove there. To cut a long story short, I brought back a couple of rolls of film and eventually made them into a self-published book on BLURB. To be honest, the photos were not very impressive and lacked character and personalities as the region I went to was destitute and devoid of souls. You can view my book online here.

However, this was enough and opened the doors to an opportunity I never expected. The communications manager who initially contacted me was impressed with what I did maybe not from a visual standpoint but more from a personal and emotional side. She actually thought my photography was too dark and grim and asked if I could show more hope and happiness and of course I adamantly said that “I am the man for the job.” At that time, I only had a simple and slow flash-based website in order to showcase my personal work rather than anything professional but it was sufficient – I gave her the confidence and enthusiasm she was after and she trusted in me. It was enough to leverage myself during the negotiation phase and the rest is history.

So what I’m saying is, have an online presence, market yourself and align yourself with something you believe in and you have a deep interest in. Whether or not the project immediately leads to anything worthwhile financially does not matter. I believe it is important to continue pursuing personal work as it will eventually one day , somehow or another lead to doors opening whether it is the week after or 10 years down the track. And even if it doesn’t you can still be satisfied with doing something you truly have a passion for.

I took over 1000 photos over the course of 3 days and below are two pages from the tearsheets of a seven-page spread in JT International Inside Magazine in addition to my photos being used in their monthly newsletters and websites. I won’t post up all for obvious reasons. This one job has since led me to other editorial and commissioned assignment opportunities.

The cover of a seven-page spread on the JT International Inside Magazine

"Moments of Pleasure" center spread of the magazine

The last page of a seven-page spread on the JT International Inside Magazine

Oh, one more thing. I used to take individual photos with no central theme or coherent story and I still enjoy it on a daily basis. However, I realise that it’s much better to do a theme-based project with a focus. Take on photography “projects” from time to time. I’d like to leave you with the below article which I feel are good principles of life.

——-

Universal Laws and Principles of Success
by Kathleen Rainbow

For anything to function effectively there needs to be some kind of structure. There are laws that govern our universe called Universal Laws. These laws apply to everything, everywhere at all times in our universe. These laws enable our universe to function in an orderly fashion. Without these laws there would be chaos in the universe. By studying, understanding, cooperating, and applying these Universal Laws in our daily lives we can lead the most successful, fulfilling, abundant, joyful, and healthy life possible.

Successful people have an intuitive understanding of these Universal Laws applying them consistently in their lives. These laws and how they work may or may not be consciously understood by the individual. Very often beliefs are taught to us during our youth by our parents or teachers. The Golden Rule — do unto others as you would have them do unto you — is an example of such a belief. Joe Batten, author of the best-selling management book Tough Minded Management, teaches the importance of this type of respect in his philosophy. We may not have given too much attention to how this Golden Rule works or have an understanding that it is a part of the Universal Law of Cause and Effect – that thought is cause and the physical is its manifest likeness — however, if it has made sense to us and someone whom we admire practices it then we probably have adopted it as a part of our own lifestyle.

Sometimes we may have been aware of a Universal Law from a young age even though it wasn’t taught to us. Some people have an innate understanding that there has been the existence of the Self before this lifetime. They may also have an innate understanding that there is existence of the Self after this lifetime, even though they have never been taught ideas of reincarnation. This was my own experience at about age three. This would be an understanding of the Universal Law of Infinity – that we are always at a point of beginning and ending. Any moment is a reflection of a stage in a process of continuity. A universal principle that is agreed upon by most successful individuals is that there is some greater power than themselves. They believe that there is a reason for everything that occurs in life, and often that they are guided by that greater power.

Those who truly desire to direct their own lives pursue the reason for the situations they encounter. They do not spend their time and energy blaming others, finding a scapegoat for their victimization. They recognize this is a distraction for them. They strive to identify the cause. By identifying the cause, which is always mental, they can then see how they have created their present situation whether it is desirable or undesirable. When the present situation is a manifestation of their desire, they can see how to reproduce this success. This is application of the Universal Law of Cause and Effect — identifying the causal thought — and the steps taken to manifest the desire which would be using the Law of Relativity.

Successful individuals have a “can do, will try” or “I can, I will” attitude. They know believing they can do something is half the battle. They know their attitude determines their altitude in any endeavor. But they’re not just thinkers or talkers. They talk the talk and walk the walk. They know that they have to get out there and physically cause their goal or ideal to become a reality. They have determination and don’t stop until they have reached their goal. They’re called the “extra milers”. They have developed their imagination and will. They can image what they want and then make the choices and put forth the effort until it is realized. They believe and know that success will be theirs. Napoleon Hill, author of Think and Grow Rich said, “What the mind of man can conceive and believe, the mind of man can achieve.” Successful people never buy into the limitations of physical conditions. They know their imagination is much more expansive and powerful than any limitation of the physical experience.

Successful people know about the Universal Law of Duality. Duality is necessary for creation to occur. The positive and negative, male and female, or aggressive and receptive principles must be present to create. Successful people are creative people and know when to be aggressive and when to be receptive. “Any best-selling books have been Divinely inspired” Joe Batten put it. An inner idea was conceived in the conscious mind of the individual. How many people have ideas that have come to them, but fail to respond to those ideas? Many people lack receptivity to new ideas because they are insecure. They think that receiving something from something or someone outside the self weakens the self, could threaten or take from the self. Successful people respond – aggressive principle – to good ideas that they receive. They are not attached to the source of the information. The universe is their resource. They recognize truth from wherever it comes. They also express from the heart. They listen to their own thoughts and then communicate those thoughts honestly without adding to or taking away from the image that they perceive in their mind.

Notable individuals have the courage to pursue their dreams. They are not stopped by public opinion, people saying it can’t be done. The desire to learn and grow and realize their dreams is always strong. Against all odds they will commit themselves to what they desire. A perfect example is Dr. “D” Brown, the first black female surgeon in the south who grew up in an orphanage in New York. She was the only black child in the orphanage and at age five determined she would become a doctor. Resourceful and determined, successful people are always looking for good ideas and are open to receive from any source. They are always striving to be a greater individual than they were yesterday — a better parent, boss, spouse, employee, friend than before. They do not compete with others, they compete with themselves, always wanting to add to themselves. This is the Law of Evolution in action.

Because successful individuals respect and use their free will, they live with no regrets for the past. They realize that what has already occurred cannot be changed and so their attention is firmly placed in the present while holding their ideals firmly in mind. They are willing to be responsible for who they are and the choices that they make. They recognize that being in the physical plane means making choices on a daily basis. Learning means that we are approaching something new, something that we haven’t yet mastered, and so we cannot know ahead of time all the right answers. Making mistakes is a part of the learning process. Successful individuals make a note of what hasn’t worked and they imagine what other options could accomplish the desired result. Then they move forward by trying the new ideas, until they find the one that works. They respect their own choices and the choices of others. They look for what is productive in every situation.

People are attracted to the charisma of great individuals who appreciate what they have and who they are. They are content with who they are at the present moment, while always looking to improve themselves. In recognizing that they are part of a whole, they strive to aid others in whatever way they can. They realize that they are like a grain of sand on the beach. They are not the beach, but they make up the beach, and without them the beach would not be the same. They believe in teaching rather than preaching. They lead from the front rather than push from the rear. They teach and lead by example. As one great leader, Mahatma Gandhi said, “My life is my message.”

Joe Batten talks about two flocks of sheep and their shepherds in the desert. The flock that was herded from the rear by the shepherd became nervous, always looking over their shoulder, not eating well. The flock that was led from the front by their shepherd were healthy, content sheep with a good attitude. People respond in a similar way. They want to aspire to something greater than themselves. The successful individual aids others to become the most that they can be. They always have the time to give to those in need. Gandhi exhibited great leadership by spending time each day talking to individual followers about their daily challenges and domestic life. This did not limit his ability to aid heads of state and world leaders, he gave wherever he could give. Successful individuals are open to all kinds of people. They welcome diversity as a place to learn more about themselves and others. They embrace different physical origins, knowing that we are all part of a greater family. They look for the good in other people, and they appreciate what is good about themselves. They practice the Law of Abundance in their lives.

Successful individuals are very serious about their ideals and mission in life. They do not take themselves too seriously though. They have the ability to laugh at themselves and use humor on a daily basis. The Dalai Lama who was awarded the Nobel Peace Prize exemplifies this. Even while facing the obliteration of his native Tibetan culture by the Chinese, His Holiness harbors no hatred. He practices discipline to still his mind and lives with compassion, giving him an endearing charm. People who have learned how to be happy at whatever they do know how to create purpose for their life. They have given attention not only to their physical desires but also to their emotional, mental and spiritual desires. They are individuals who balance their time and endeavors to lead a balanced, well-rounded life. They understand how to use the Universal Law of Proper Perspective. They know what area of their life needs attention at any time and they respond to that.

Successful people come in all shapes and sizes. One quality that is common to all of them is that they give their love and their life blood to whatever they set out to accomplish. By learning from their attitude toward life and emulating their example, we can all embrace the Universal Laws and the Principles of Success.•

sourced from：http://www.som.org/2laws/universallaws/lawssuccess.htm

Shibuya Hikarie Grand Opening

ontoshiki — Tue, 01 May 2012 18:03:55 +0000

I just happen to be around Shibuya’s Hikarie with my DSLR during its Grand Opening week so decided to scope inside the new building and take some shots.

overpass connecting JR Shibuya station and Hikarie Shibuya

Huge line-up outside Hikarie Shibuya

Here are some photos from the first days of the Shibuya Hikarie grand opening.

people lining up outside Shibuya Hikarie

crowd lining up extends around the corner outside Shibuya Hikarie, typical of a Tokyo opening.

escalators from upper floor of Shibuya Hikarie

statue commemorating the grand opening of Shibuya Hikarie

mannequin balloons commemorating the grand opening of Shibuya Hikarie

statue commemorating the grand opening of Shibuya Hikarie

observatory deck of Shibuya Hikarie

on the other side of the station, a tattooed guy playing a traditional "shamisen" instrument

The article below is from JapanToday.

“A new 34-floor commercial complex called Shibuya Hikarie opened Thursday near Shibuya station. The building is connected directly to Shibuya JR and subway stations.

The top level of the building will be business offices, the middle level has event halls and a theater, while the bottom level is a shopping mall called ShinQs, targeting career women in their late 20s to 40s.

B3 and B2 floors are food sections. B1 and 1st floor is devoted to high-end cosmetics, as well as other beauty products and services. It will be the biggest outlet for natural and organic products in Tokyo.

The 2nd to 4th floors are for apparel and fashion goods, including casual office wear, travel & outdoor fashion, urban styles, and fashionable design goods.

The 5th floor is a lifestyle goods section for the living room, kitchen, dining, and for hobbies and culture.

The building has luxury powder rooms which are called Switch Lounges for members only.

The Tokyu Theatre Orb on the 11th-16th floors opens with the musical “West Side Story” on July 18.”

Interview: “Ramosa” Beaudoin

ontoshiki — Mon, 23 Apr 2012 19:01:11 +0000

Street Photographer: C. E. Ramosa Beaudoin / Country of Origin: United States

“Above all, I know that life for a photographer cannot be a matter of indifference.”- Robert Frank

Q1) You have been shrouded in mystery. Could you indulge us and give us a bit of background on how you grew up, job and so on for your followers?

I’m a pretty private person and would like to keep it that way. (Haha. Just joking about wanting to keep it that way.) OK, let’s see. My last name comes from my ancestors, while the nickname Ramosa (which means “the father of joy”) comes from my time in the Peace Corps. (I have never really had much of an affinity for my given first name.) I have lived quite a few places, in the United States and overseas, working in different capacities, including as a journalist, public health educator, and university professor.

Q2) What is it that drew you into street photography?

In 1995 and 1996, I worked as a print journalist in two Asian countries. In my free time, I often found myself wandering urban streets with a camera in hand, trying to act like one of the photojournalists I worked with. At the time, I had never heard of the term “street photography,” but when I look back at the images I created during that time, I was clearly doing “street photography.” What is interesting is that, after this initial experimentation with photography, I regrettably lost touch with it until about four years ago, when my interest was forever rekindled. Much like with jazz, I like the improvisational amalgam of street photography, including what I call “the Four Cs”: candid, content, composition, and concern.

Q3) Who were your visual inspirations or influences?

Robert Frank, Trent Parke, Henri Cartier-Bresson, as well as others, including assorted photographers on Flickr and elsewhere online, whether they have perfected their craft or are just learning it. One thing I love about online photography sites is that there are novices and experts, as well as all of the rest of us somewhere in between.

Q4) Explain your thought process on how you choose a picture to convert into black and white or to leave in color?

The choice of black and white versus color, of course, comes down to what you want to emphasize and deemphasize. I normally visualize a scene in black and white, attending to the interplay of light, shadow, and tonality. When it comes to post-processing, I try not to do any more than what could be achieved in the darkroom. At this point, if an aspect of color is intended to have a predominant role, I will keep the image in color. Most of the time, however, I convert my images into black and white. I guess, as the great Ragnar Axelsson once said, “My heart is black and white.”

Q4) Correct me if I’m wrong but looking through your photos, you mainly shoot around Midwestern area of the US. What is it like shooting there as compared to other places that you’ve been to or that you’ve seen?

I often shoot within a couple hours of where I have lived in the middle of America, whether in New Orleans or Texas, but also where I travel afar. I do not currently live in a large urban area, which poses a barrier to my street photography. It’s much more difficult in small towns where people are fewer and the sense of space is different, keeping people more distant.

When I am in larger cities, I find it much easier, with human life being up close and overflowing the urban landscape.

Q5) Out of all your photos and artwork, do you have a favourite? Why? … and favourite artwork or photo of another person? dead, alive , famous or not.

A favorite of my own? I’ll say one that I called “tophat fog.” Why? It’s a basic street image, and I took it back in 2008 when I was really getting into photography. So it speaks of my experience and development during that time. Yes, the kiss of death: I’m emotionally attached to it!

A favorite of someone else? I have lots of favorite photos taken by others, whether street or social documentary photography. A favorite one? How about Trent Parke’s photo of an office worker as he walks through the atmosphere and light of Martin Place. Such a dreamy mix of the mundane and the otherworldly!

Q6) You mainly shoot with a Leica. What is it about shooting with this camera as compared with others?

Unlike some photographers, I’m not really into gear and don’t know a whole lot about it. But using a rangefinder was a turning point for me in that it really simplified and slowed things down and made me much more thoughtful and serene when taking photos. While all sorts of cameras can create amazing images, I know I would miss the simplicity and size of the rangefinder and how it facilitates the photographic experience for me.

Q7) Many photographers shoot and artists draw as a means of meditation or self-exploration. What is your connection with spirituality and do you believe in God?

While I do not believe in a god per se, I do think there’s something going on, something spiritual, in the world. Photography plays a role in this for me, serving as a meditative act and providing a connection between life, self, and spirit.

Q8) As a photographer, what has been your biggest achievement?

It’s sort of a mix of things, each of which is quite personal. Achieving a piece of mind, developing a sense of connection with people around me, and realizing that I am learning things, step by step, and getting better with the passage of time.

Q9) Where do you see your photography going in the future? Are you likely to shoot anything else other than street? Any projects you are working on at the moment?

Street photography will remain an integral focus for me, but I have several ideas in mind that will be more consistent with social documentary. This will challenge me to tell stories that are more in-depth and are conveyed through a series of photographs. Such an approach would be interesting for me, as it sort of takes what you do as a print journalist but changes the modality from text to photographic image. Also, I’m always trying to learn more about composition, especially, these days, the related role of geometry. There are, of course, some decent books on photographic composition, but also some great online resources. My current favorite is http://www.adammarelliphoto.com. Adam has such a strong skill for critiquing photographic composition and teaching about it.

Q10) And some last words for fans and fellow photographers?

For this, I began thinking about the importance of keeping a positive mindset and trying to learn as much as we can in photography and in our interactions with other people. But then a quote of the Magnum Photographer David Alan Harvey came to mind. He says it much better:

“Have an open mind, open heart and a smile.”

———

A big thanks for Ramosa for this interview. He is quite modest about his work which is admirable because the above photos are brilliant. To follow his work, please check out his Flickr photostream.

Don’t forget to follow my Facebook . I plan to have regular interviews and insight from photographers & models from all areas of photography.

boy with bubble blower

ontoshiki — Sun, 22 Apr 2012 15:38:42 +0000

Images of kids blowing bubbles have been done so many times before and are somewhat cliche so I’ve never bothered to shoot any. In any case, I happen to come across these kids playing so the situation wasn’t pre-arranged. Unfortunately, even though I took quite a few frames I didn’t get a “killer” shot from any of them. The angles didn’t play out too well and the bubbles didn’t pop out of the image. Too bad. I guess the last image might be the best of the bunch. What do you think?

boy blowing bubbles with bubble blower

Last call for kabukicho with Eiji Leon Lee (35mm film)

ontoshiki — Thu, 19 Apr 2012 17:03:23 +0000

Here’s a series of cinematic photos I did with actor Eiji Leon Lee. These were all shot on Kodak Tri-x400 black and white film. You can compare digital to black and white film. I have a hard time deciding whether to shoot film or digital so I usually bring at least two cameras to a photoshoot and do both. I need to be a little more decisive in future and decide on one.

(It is the story of a man who turned to a life of crime by working for the Yakuza. I won’t go into detail about the story but let your imagination run. We shot around the streets of Kabukicho, Shinjuku, the yakuza district of Tokyo. This area is littered with various love hotels, nightclubs, bars, hostess clubs, sex shops, stripclubs and adult stores with touts at every corner of the street. No doubt many of these seedy establishments are run and protected by members of the Yakuza. I really like cinematic photography and a series of photos which tell some kind of story. These perhaps are a little disjointed but I hope you can enjoy the photos.)

You can compare the difference between digital and film in the two galleries below: