I was looking forward to CP+ this year as it was the first real event in a long time, after being an online event for the past three years.
However, due to various reasons, I was unable to visit the venue in Yokohama during the event. At best, I was able to watch some of the online streaming. I’d like to write down my impressions of some of the streaming programs that I was barely able to watch, as a reminder of my participation in CP+ this year.
(In no particular order of schedule or time)
■NINJAV+ and ATOMOS CONNECT Okinawa Photography Practice Seminar (Mr. Ren Takeuchi)
I am a complete amateur, less than a beginner, when it comes to video, but I enjoyed the easy-to-understand explanation of a solution to freely advance video editing with a camera + monitor + network adapter + cloud service. However, I wondered if the day would ever come when I would be a user of this kind of thing. I was half-convinced that the day would come when I would be a user of this kind of thing, but since the cameras used in the examples were the Lumix GH6 and S5II, I thought it might not be so far-fetched.
■Mr. Koyabu, talking about cameras! (Mr. Kazutoyo Koyabu and Ms. Moemi Kushiro)
I guess the link will be broken since it’s only available until the 28th.
Famous comedian Mr. Koyabu, who was a camera novice, talked lightly about how he got into the world of cameras and photography, what he enjoys and what he wants, until he became a mature Q2 user. I was impressed by the professional model’s “skill of being photographed = the skill of letting the photographer capture the expressions and poses he/she wants to capture. I was a little happy to learn that he is deeply interested in Pentax equipment such as the 67 and 645Z.
■Seiya Nakai Style: The Secret to More Interesting Photography.
This was a mini seminar on how to enjoy making your own “photo book” using Epson printers and supplies. I was able to relive the actual process of making a photo book with Mr. Nakai’s travelogue photos of Vietnam, and I enjoyed both the seminar content itself and his “Yuru-Tetsu (Loose mode)” railway photos. I like the Epson 873T, I might seriously buy one. However, the incomprehensibility of the login to Epson’s distribution site is a bit unforgivable xxx.
■The necessity of a tripod in landscape photography (Kiyoshi Tatsuno & Tomotaro Ema)
This is a YouTube channel of Leo Photo, not a direct link to CP+ distributed contents. I usually don’t shoot landscapes, but I learned a lot from listening to Mr. Tatsuno and Mr. Ema’s talk for 40 minutes, so I’d like to leave a note.
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- Topic=Introduction of the limited edition 364CTK tripod model with Mr. Tatsuno’s signature engraved on it (planned price: 118,000 yen, limited to 100 sets)
- What the teachers consider “what they look for in a tripod for landscape photography” is what we focused on when we developed this product.
- Stability and robustness unaffected by weather and scaffolding conditions
- That is, the ability to withstand long shutter times on poor scaffolding. To achieve this, the leg opening angle is widened for improved stability. Optional spiked stone feet for loose footholds and snowy surfaces.
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- Securing leg height for greater freedom of shooting. We want to expand the possibilities for shooting in rivers and hollows. For this purpose, leg height is increased to just under carry-on size.
- Focus on the function of umbrella equipment to protect equipment in rough weather (rain, snow).
- The tripod is not easily tilted or fallen down, and is not agitated by strong winds (the tripod does not fall down, only the umbrella should fly away). As a result of our efforts to achieve this, we have created a structure that allows you to simply insert the umbrella with the shaft cut off into the dedicated holder.
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- Flexible free head + gear head (optional) with fine adjustment
- With a free head, you tend to have to “start over again and again” when you are trying to fine-tune the composition of the image. Therefore, it is reasonable to use a gear head to refine the composition after you have done most of the framing with the free head.
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- Other tips
-When setting up a tripod in deep snow, it is no good to spread the legs and push them in. It’s better to stick them in without spreading them too wide.
-Colored umbrellas are a source of color coverage. Black umbrellas can be used in sunny conditions, and transparent umbrellas allow for upward framing with the umbrella in place.
-If it’s a sturdy tripod, you’ll want two grips, especially if you’re shooting in the cold, like when shooting diamond dust.
-If the tripod is sturdy and strong, It is much easier to extend the tripod from the bottom first and fine-tune the length of the legs at the top.
- Other tips
■Searching for the one and only railroad scenery (Seiya Nakai)
This is also a special site, so the link might be broken soon.
I couldn’t make it to the Pacifico Yokohama venue, but I was able to stop by the “Yuru-Tetsu Gallery NOMAD” held at a gallery in nearby Noge for a short visit. I was very happy to be able to talk with the Mr. Nakai himself, who was in the gallery at the time, and even get him to sign the booklet I bought.
The lecture, which was broadcast live from the Sony booth, was about persistent, physical shooting on the Tadami Line, aiming for the “one and only”. We were entertained by his light and natural talk as usual. I was a little surprised to hear for the first time that Mr. Nakai “only uses genuine lenses.”
However, despite his round appearance, soft manner, and “Yuru-Tesu” style, Mr. Nakai is very energetic in his activities. I think it is a great achievement.
That concludes my CP+ 2023 report.
It’s comforting to know that I was able to enjoy the event to some extent even though I participated online. However, I would like to go to the event next year to see and touch various things.
