]]>秋雨湖水図 タスマニア FUJIFILM様 X Series Japanより転載http://aiharap.exblog.jp/38664908/2026-07-02T15:30:00+09:002026-07-02T15:30:07+09:002026-07-02T15:30:07+09:00masabikeタスマニア
今回の作品は6月17日と同じ場所、同じ時に撮影している。大きな違いはレンズの焦点距離。6月17日の作品は超広角GF23mmF4 R LM WR。今回の作品はGF100-200mmF5.6 R LM OIS WRのテレ側200mmで撮影している。画角はまるで違う。雲がたなびくダイナミックな風景は23mmの超広角で押さえ、その中で自分が特に気になる変化の部分をGF100-200mmF5.6 R LM OIS WRのズームのテレ端200mmで押さえる。引きと寄りの両面で、ダイナミックな風景と繊細な光の移り変わりを抑える。このような時の為にレンズ交換式のシステムと、メインボディーとサブボディーの2台体制が必要だ。場合によってはX-T5 ＋ XF100-400mmF4.5-5.6 R LM OIS WRでさらに寄りの視点も捉えることが可能だ。この場合センサーサイズは異なるが、フィルムシミュレーションの色設計がほぼ同じであるために、作品を混在させてSNS、写真展等で使用しても違和感がない。
先日 FUJIFILMさんのメタバース空間のイベントスペース House of Photographyで アマチュアの方の作品講評をさせていただいた。予想では絶景や映えを狙った作品が多いかなと思いきや、参加者8名の方がそれぞれ独自の視点で撮られていた。正直言って、どうやってこの視点を見つけたのか、こちらが逆に教えを請いたくなる作品ばかりだった。そして何よりも写真から楽しんでいますオーラが出ている作品ばかりだった。これをとったら良い講評を得られるかな？とか、これを撮ったらコンテストに入るかなという作品は１点もなかった。写真からあざとさではなく、楽しさあるいはとるときの工夫が感じされるばかりで、講評がとても楽しかった。
昨日も東京 青山のLUMIX Base Tokyoで高橋直暉 写真展 「いのち～共利群生～」を拝見した｡昆虫や小さな生き物たちの世界を撮った作品。作品も素晴らしいのだけど、その作品からにじみ出る人間性が素晴らしい。とても穏やかで優しい感じが写真からにじみ出ている。穢れのない、心から写真を撮ることを楽しんでいる、その気が写真からあふれ出ているまさに写心。仕事で撮ったり、いろいろ広告業界でもまれてきた僕には撮ることが出来ない、やさしい雰囲気の作品。コンテスト狙いや、人と競うことを考えてばかで撮る方はぜひこの写真展を見てほしい。作品は人間の内面の表現というのが良くわかる
2026年 6月20日 誕生日に際して
写真家 相原正明
Thanks to you all, I was able to celebrate my 68th birthday on 20 June without a hitch. I received so many birthday messages on social media. Thank you all so very much.It feels like only yesterday that I graduated from university and joined an advertising agency, yet in the blink of an eye I’m now in my late sixties. At this age, there’s a lot on my mind—naturally, this includes how I approach photography and my feelings towards it, as well as how I travel, and so on. However, I’d like to make it clear that just because I’ve grown older, my passion and enthusiasm for photography haven’t diminished in the slightest. Thanks to the development of social media, my knowledge and information have expanded—‘Are there really landscapes like this in the world?’, ‘Is there architecture like this?!’ and so on. The number of subjects I want to photograph has increased dramatically. To be honest, if I were to add up everything I want to photograph right now, I might not be able to finish it all unless I live to be 120 or even 200 years old! (laughs)
As the number of subjects I want to photograph has grown, so too has my approach to photography. First and foremost, I’ve moved from relying on sheer physical effort to drawing on wisdom and experience. From my twenties to my early forties, I engaged in adventurous photography, travelling to remote, uncharted regions of the Australian outback—places where hardly anyone goes—to capture what we’d now call ‘spectacular views’. This included rare subjects and unusual landscapes. My very first photography trip to Australia, in particular, was on a motorbike. It was partly a training exercise in preparation for the Paris-Dakar Rally, as I wanted to make a documentary about it, so I took quite a few risks. I even wrote a will. I was prepared for the possibility that there was about a 50 per cent chance I wouldn’t make it back alive
Thanks to that, I was able to photograph parts of Australia that no one had ever seen before and turn them into a body of work. But looking back now, I think that was simply down to being young and lucky. The risk increases with each attempt. Even if the danger level is 20 per cent, after five trips it becomes 100 per cent. In particular, travelling solo into the outback on a motorbike was a huge gamble. By chance, that first gamble was a resounding success. But I have no idea about the second time. I’m often asked if I’ll ever go back to the outback on a motorbike to take photographs. If I were to venture into the outback alone on a motorbike again, I’d probably die. That’s how high the risk is.
So, as I’ve got older, I’ve come to seek out subjects not through sheer force of will, but through experience, intuition and an introspective perspective. Rather than fiery sunrises or sunsets, or even spectacular vistas, I capture baobabs standing quietly in the wilderness or strange rock formations—not in fiery sunrises or sunsets, but at night or even during the day, in black and white, through the interplay of light and shadow. As I’ve grown older, I’ve returned to my roots, and the number of works I create in black and white using a standard lens has increased. A recent example is the ‘Katachi’ series, which I’ve been exhibiting—works that capture the forms of objects using black and white and a standard lens.
And even when shooting in the same locations or travelling to the same places, I’ve been able to discover my own perspective on subjects I would have overlooked in my twenties and thirties. My recent photographs of Hotokeura in Aomori Prefecture are a case in point. I am also increasingly turning my lens inwards to explore my own inner world. To deepen this introspection and broaden my perspectives and emotional repertoire, I now visit and study far more photography exhibitions, art shows and art books than I did in my youth. My wife, who is also a curator, has been a major influence in this regard. In particular, the things I saw, heard, felt and photographed whilst travelling in Paris in 2019 and 2020—guided by my wife—have had a profound impact on me.Moving forward, whilst I wish to broaden my horizons and gain diverse experiences around the world, I also want to discover my own world hidden within the ordinary landscapes and scenes of Japan—my homeland. I imagine the work I produce from these travels will be very basic monochrome pieces. I believe image processing, AI, and effects such as filters will become increasingly prevalent in the future. I think it’s only natural for beginners and young people who have just started photography to become captivated by these effects and techniques. Everyone thinks that if they learn these effects and techniques, they’ll be able to take good photos, cool photos, or photos that’ll make a name for them. When I think back on my own experience, it was exactly the same. Back in the film era, I got hooked on effects and techniques through darkroom work. I spent a great deal of time and effort on it. But now, I hardly ever use the techniques I learnt or experienced back then. My approach to photography is very basic. Getting hooked on techniques and effects is like catching the measles or a fever. I consider it a rite of passage that everyone goes through at least once. So, for those currently obsessed with ‘Instagram-worthy’ photos, or with filters and image processing, I think you should carry on with it until you’ve had your fill, or until you hit a wall. And one more thing: I’d like you to study the history of photography and art. Photographic history is essential for creating a ‘map’ of your creative journey—to confirm where you currently stand and to determine where you should be heading. I’m sure that one day I’ll realise just how important the very foundations are, and that I’ll return to my roots
This has turned out rather long, but having reached my late sixties, I’d like to express my heartfelt gratitude to the many people who have supported me, to my parents who brought me into this world and my ancestors who came before them, and above all to my wife, who has continued to support my work for the 30 years since we met. Thank you very much
20 June 2026, on the occasion of my birthdayPhotographer Masaaki Aihara
相原正明撮りおろしのkoji note From OITA 相原正明 フォトエッセイ ぜひお楽しみください
There’s a location I’m currently obsessed with: Hotogaurahama in Aomori Prefecture.
I visited it about 15 years ago on a motorbike tour. Back then, though, I just looked down at it from the top of the mountain and thought, ‘Hmm…’ I wasn’t taking as many black-and-white landscape photos back then as I do now.
It’s been about ten years since I started shooting under the ‘Katachi’ concept. I wondered how this place would look through my current lens—my curiosity piqued, so I decided to pay it a visit.
I shouldered my kit and made my way down the long mountain path to the coast. The path was lined with signs warning of bears. In a way, it was a sense of tension I hadn’t experienced whilst photographing in Australia. When I reached the coast and turned around, a cluster of bizarre rock formations awaited me. It wasn’t merely a strange or breathtaking sight; it was a different realm—or rather, a world beyond this one. Something inside me clicked, and I spent four hours snapping away.
Someday, I’d like to return to this location, capture this series of images more thoroughly, and present them to the world.
Translated with DeepL.com (free version)
相原正明撮りおろしのkoji note From OITA 相原正明 フォトエッセイ ぜひお楽しみください
FUJIFILM GFX100S+FUJINON GF45-100mm
FUJIFILM GFX100S+FUJINON GF23ｍｍ
Befor