twin_lens' photostream  

About:

Tsutomu Otsuka (twin_lens) is the photographer and the editor in chief for the Kyoto Photo Press. Usually he uses digital cameras, however he loves medium and large format film cameras as Rolleiflex, Deardorff View 8x10, etc. Also he loves American and Irish roots music.

京都を中心に活動しているフリーランス・フォトグラファーで、京都フォト通信の責任編集者。日本写真学会(SPSTJ)、日本写真家協会（JPS）会員。普段はデジタルカメラを使っていますが、ローライフレックスやデアドルフ8x10など、中判、大判のフィルムカメラで作品作りをしています。アイリッシュ＆アメリカンルーツ音楽が好きです。

Tsutomu Otsuka es el fotógrafo y el editor en jefe de Prensa Foto de Kioto. Normalmente se utiliza cámaras digitales, sin embargo, ama medianas y grandes cámaras de película formato Rolleiflex, Deardorff Ver 8x10, etc También le encanta americana e irlandesa raíces de la música.

大塚努是摄影师以及首席京都摄影报主编。通常他用数码相机，但他喜欢中型和大型的禄来福来，迪尔朵夫查看8x10格式胶片相机等，此外，他喜欢美国和爱尔兰的根源音乐。

Blog:

Camera Works Blogger (English)
写真少年漂流記 （日本語）

Quotes:


It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virture of being photographed, touched with pathos. An ugly or grotesque subject may be moving because it has been dignified by the attention of the photographer. A beautiful subject can be the object of rueful feelings, because it has aged or decayed or no longer exists. All photographs are memento mori. To take a photograph is to participate in another person's(or thing's)mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.--Susan Sontag "ON PHOTOGRAPHY"


The Zone System has not been widely recognized by scientific community. The reason appears to be that scientists are not concerned with the kind of photography that relates to intangible qualities of imagination, as distinct from the laboratory standards of exact physical values. It seems unfortunate that such precision of method and measurement as exists in manufactures' laboratories should be diluted by the concepts of "average" application so obvious in current equipment and materials.--Ansel Adams "The Nagative"


Freaks was a thing I photographed a lot. It was one of the first things I photographed and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them. I don't quite mean they're my best friends but they made me feel a mixture of shame and awe. There's a quality of legend about freaks. Lke a person in a fairy tale who stops you and demands that you answer a riddle. Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats......For me the subject of the picture is always more important than the picture. And more complicated. I do have a feeling he print but I don't have a holy feeling for it. I really think what it is, is what it's about. I mean it has to be of something. And what it's of is always more remarkable than what it is. --Diane Arbus "An Aperture Monograph"


I use an 8 x 10 view camera on a tripod, not unlike the camera used by Curtis, Brady, or Sander, except for the speed of the shutter and film. I stand next to the camera, not behind it, several inches to the left of the lens and about four feet from the subject. As I work I must imagine the pictures I am taking because, since I do not look through the lens, I never see precisely what the film records until the print is made. I am close enough to touch the subject and there is nothing between us except what happens as we observe one another during the making of the portrait. This exchange involves manipulations, submissions. Assumptions are reached and acted upon that could seldom be made with impunity in ordinary life. --Richard Avedon "Foreword to In The American West"


The Angels were something else again. They were like coiled springs ready to fly loose and make trouble. Being inside a building with their precious bikes (and the wives and children I had asked them bring) frustraited their natural tendency to smash up the place and do mischief. The delays and provocations were endless. Still, the hypnotic lens of the camera and the confinement of the studio held them in check long enough for the pictures to be made. When the experience was over and their screaming bikes went down the road, I breathed my deepest sign.--Irving Penn "World in a Small Room"


Next morning, after sleeping it over, I felt better. While shaving, I held a conversation with myself about the incompatibility of being a reporter and hanging on to a tender soul at the same time. The pictures of the guys sitting around the airfield without the pictures of their being hurt and killed would have given the wrong impression. The pictures of the dead and wounded were the ones that would show the real aspect of war, and I was glad I had taken that roll before I turned soppy. --Robert Capa "Slightly Out of Focus"


People of my own and previous generations will never again be able to pass in front of garden gates covered with purple Judas-Tree blossoms. They will never again be able to walk down cobbed Bosphorus streets, slippery atter rain. Never again will they be follwed from the top of a wall by the bright, suspicious gaze of one of the tabby cats that we used to encouter so frequently in the old Istanbul streets and which would suddenly dash off miaowing in front of you.----Ara Güler "A Photographical Sketch on Lost Istanbul"


Edward and I both agreed with the view of a Greek friend of ours, Jean Varda, who was fond of saying there were three perfect shapes in the world .... the hull of a boat, a violin and a woman's body. The probrem for a photographer who deals in sharp, unmanipulated images is that he cannot simplify a face, or generalize it into a type, as a painter or sculptor can. If the full face appears, the picture is inevitably the portrait of a particular individual and the expression of the face will dictate the viewer's response to the body. If a photographer wants to make a nude, rather than a nude portrait, he has only three possible options: the face must be averted, minimized by distance, or excluded.----Charis Wilson "EDWARD WESTON NUDES"


A circular aperture is an opening -- an archetypal motif for birth and a place of transformation, symbolically feminine. Many ancient cultures have emergence legends designating a hole in the earth or a hole in the sky as the sacred place of origin where their forebears first appeared. A large stone placed vertically appeared as a structure rooted deeply in Mother Earth, and this same large stone, with a circular hole in it, was used ritualistically to reenact the transformation of birth or could cure certain ailments. A baby passed through the hole received regenerated birth energy. The East Indian definition for a holed stone was "gate of deliverance." ---- Eric Renner "PINHOLE PHOTOGRAPHY"