stekki no.10: hasselblad discovery workshop, hyuga, japan

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stekki HASSELBLAD DISCOVERY WORKSHOP SPECIAL EDITION | Hyuga, Kyushu, Japan. * a japanorama production | 素敵 < japan, fashion, photography, lifestyle, life no.10 JANUARY 2015

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Special edition from the recent Hasselblad Discovery workshop in Hyuga, Kyushu, Japan.


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    a japanorama production |

    < japan, fashion, photography, lifestyle, life

    no.10JANUARY 2015

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    su-te-ki /ste ki/

    adjective: beautiful, great, lovely, splendid, wonderful, nice

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    index/ credits


    EDITOR IN CHIEF /DESIGNER Alfie Goodrich. CONTRIBUTORS/PHOTOGRAPHERS Elena Tyutina, Gavin Oliva, Aki Fotograffix, Edmund, Angela, Cogui Noguchi, Seiko Kashiwagi, William Penrice, Alfie Goodrich.

    SPECIAL THANKS & ACKNOWLEDGEMENTS Very special thanks to William Penrice, Seiko Kashiwagi, Elizabeth Addyman and the rest of the team at Hasselblad Japan for their wonderful support and professionalism... and their amazing cameras!

    Huge thanks to Mituaki Kyuma for driving his car-transporter five hours each way from Fukuoka to Hyuga and back, and for lending us the Caterham 160.

    Thank you, Profoto Japan, for lending us four of the wonderful B1 battery-powered location lighting systems.

    Big thanks to all at Peak Performance and H&M in Japan, for lending us such lovely clothes to shoot with.

    Thanks to William and Aki of Fotograffix in Hyuga, for their help and support.

    Stekki is produced by Alfie Goodrich and

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    18-2728-3536-43 44-53



    EditorialIntroduction by William Penrice, President of Hasselblad Japan.Four On The Floor: shooting the Caterham 160 with Yoshiyaki Fujita. A Breakwater Operatic with Kotomi Kai.Kotomi & the workmen.Sunrise on the beach.Caterham Girl: shooting the Caterham 160 with Kotomi Kai.Fiddler On The Beach with Yoshiaki Fujita.The White Dress.Odds & Ends: Other shots we got along the way.Parting Shot: waves break over the beach.



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  • Welcome to this special edition of Stekki, featuring work from the folk who attended our recent Hasselblad Discovery workshop in Hyuga, Japan. Therell be other mentions of them throughout the magazine but, in opening this edition of the magazine, Id like to send a profound thank you to all those who attended and contributed their wonderful images: Edmund and Angela, Gavin, Cogui, Elena and Aki. It was a great pleasure to spend the weekend in your company and be there to help you shoot such a selection of work. Our concept from the start was to make a workshop which took everyone a little deeper into their photography, producing images which would be used to create the layouts for the pages youll see here. Shooting for the page has some specific challenges and successful images are the result of many contributing factors. Most of all, though, they are made great by the act of pre-visualisation: imagining the scenes in front of you as

    pages, seeing the people and things you are photographing as either a vertical single page or a double-page spread and visualising the type and text. From the front cover to the last page, a magazine is a progression, a flow of images and text. There are stories to tell and associations to make. Its been a joy to take the images from the weekend and string them together into the features youll see. Hasselblad have been superb partners so far. And the story of collaboration between myself, Stekki and Hasselblad is just beginning. 2015 promises to be an exciting year!


    Alfie Goodrich, Editor in ChiefPhotograph by Lisa Fujiwara

    At left: Model, Yoshiaki Fujita, in contemplativepose on the beach at Mimitsu.

    Alfie Goodrich,Editor in Chief


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    Broadening horizonsthrough DISCOVERY.

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    Hasselblad Discov-ery is designed to present photog-raphy from start to finish. Our Discovery experience brings together the art, sci-ence, practicality and fun of creating images. Were offer-ing workshops to uncover the excitement, challenges, and importance of expressing your-self through your photography. With our professional photog-raphy experts we will take you through every step of produc-ing eye-catching images and ensure that this wonderful ex-perience leads to the next step on your photography journey. The hands on discovery of-

    fers increased confidence through a deeper under-standing of the how the im-ages you capture can be used. Whether with the latest H-System cameras or the CFV-50C used in conjunction with Hasselblads legacy film cameras, Discovery is de-signed to broaden visual un-derstanding across the board. In conjunction with Stekki, were helping image-makers understand every part of the process, from pre-visualisation, location-scouting, camera craft, shooting for print, light-ing, editing and post-produc-tion.

    Combining travel, photogra-phy and a passion for Japan, the Discovery workshops aim to provide a broad expe-rience and help participants understand our cameras as an integrated system with Hasselblad as part of life. This first, weekend-long, event in Hyuga was a wonder-ful start to what we hope will become an extensive series. Id like to take this opportunity to thank everyone who was in-volved, everyone who partici-pated. It was a wonderful expe-rience which brought together a disparate group of people who share a love for Japan and a passion for making images.

    We look forward to the next weekend Discovery event, in Spring 2015 and a continu-ing series of one-day events which are already taking place in Tokyo and which we hope to bring to other cities across Japan.

    Introduction byWilliam Penrice.

    PresidentHasselblad Japan.

  • cameras



    HC 120mm f/4 macroHC 100mm f/2.2HC 80mm f/2.8

    HC 35-90mm f/4.5-5.6HC 28mm f/4


    Profoto B1

    the gear


  • ...some of the the cameras, lenses and lighting gear used on the workshop.



    We take the Caterham 160 for a spin in Mimitsus narrow streets.

    Model: Yoshiaki Fujita

    One of the things we decided very early on in the planning of this workshop was to get our hands on a sports car to throw into the mix. Cars are fun to shoot. They are also not easy to shoot, which is great when you are aiming to teach people some cool things about photography; easy subjects are boring. Combin-ing a person and a car in shots has its own challenges, too: making the poses work, finding angles that emphasise the car and the model equally or which play with depth and per-spective. Plus theres then just the challenge of having such a large prop, especially when there are lights involved. Cars reflect everything you put near them. Lighting a car can be a unique challenge. But what car? We first thought about approaching various owners of classic cars who live in the area. But a possibility cropped up after Caterham brought their Seven 160 sports car to Hasselblad in Harajuku for a press launch. Once wed found ourselves a willing and happy local dealer for Caterham in Kyushu, the game was on. continued inside......


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    The Caterham Seven 160 is a beautifully fun car. Its a manageable sports car. From a drivers perspective, its a car you can survive getting a little crazy with. The turbocharged Suzuki 660cc engine gives you a Kei-Car tax bracket but the lightweight body, low ground-clear-ance and rear-wheel drive give you a traditional small British sports-car feel and performance. I didnt get to drive the car a lot but from the short time I had behind the wheel, the Seven 160 felt taut, exciting and took me all the way back to the MG Midget Id had as a younger man. Great fun. As for shooting the chibi-beast? Wed spent a little time on the morning of the second day shooting the car down on the harbour in Mimitsu. But for the shots in this set, wed ventured up into the small streets lined with traditional houses. The scale of Mimitsu suited the car perfectly. Yoshi is a fairly tall guy so making shots that worked with him and the car was often a case of searching for low angles and perspectives. The Peak Performance orange outdoor-wear made the perfect colour contrast with the BRG and bare metal. Massive respect to Kiyuma-san of UK Sports Cars in Fukuoka for driving the car over from there on his transporter and for be-ing such a good sport on the shoot. We look forward to another outing with him in Kyushu.... when well be aiming to get one of his classic Lotus cars in front of the lens....

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    This lovely old house and gravel parking area made for a nice opportunity to shoot various angles of the car.

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    Framing the car and the model within all the elements of the location pro-vided some nice challenges. Making all the areas of colour work together in this frame was very satisfying; the jacket, the car, the license-plate, the washing, the tree, the moss-covered wall. Everything works to create a nicely balanced shot.

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    A Breakwater operatic

    Model: Kotomi Kai

    The light was fading but the location was begging for that red dress. The last cut of the

    first day was a 20minute affair at best, probably more like

    fifteen. But the results speak for themselves....

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    A Breakwater operatic

  • One of the exciting parts of this work-shop for me was that it gave me the chance to be back in the these lo-cations on what is now, for me, my third fashion shoot. Re-visiting locations can be a very rewarding experi-ence but the location obvi-ously has to have some sort of depth to it; options for all sorts of different shots and moods. This breakwa-ter, down on the south side of the coast by Mimitsu, has that sort of spades. The location had changed a bit since my last time there, with the series of wooden pil-lars lining the first stairacse up on the bank above the beach having been removed. But it didnt make any real difference: those pillars had always been the least in-teresting part of the area.

    Ive no idea why any of the concrete constructions are there. Theres no real practi-cal purpose to them at all. The beach has a wall at its rear to protect the coast from storm surges. The breakwater, stairs, walls.... sometimes it seems its all there just to provide a nice place to shoot photos. The area nearest the sea is perfect for any number of shots, with a symmetrical pair of walls, curved stair-cases and a large flat area of concrete that means you can get low angles with lots of lines in the foreground. The light was fading and we were up against that. Flash goes a long way when it gets dark and making the loca-tion work in the dark for photographic and safety rea-sons would be difficult. The blueish half-light at the end of the day would

    be perfect for us. But we wouldnt have long with it. Of course it had to be the red dress that Kotomi should wear. This spot is all about drama. The blue light, the dress, the dark curves of the concrete: it all worked out well and in less than 25min-utes we came, saw, shot and left with some lovely shots. All were lit with just one of the Profoto B1 lights, through a small softbox. Images shot by all partci-pants, with cameras and lenses including: H5D-50C, CFV-50C, 100mm f/2.2, 35-90mm f/3.5-5.6, 12omm Macro f/4, Zeiss-Planar 80mm f/2.8.



    Text by Alfie Goodrich


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  • A few shots from our first ten minutes at the location, preparing for the shoot. We didnt have much time so it was crucial to get some idea of which would be the best couple of spots for shooting, to make the most of the light.