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A week ago or so, I mentioned stopping in Mina and meeting a locale character named Jeff. We had stopped to take some pics of a couple of his old trucks, when he emerged from his house and started chawing with us. While we chatted, it was hard not to notice a long, ranchy trailer-home parked in front of his house. This was no ordinary old single wide trailer. This was more like a rectangular submarine awash in the desert. When I asked him about it, he told me--quite proudly I should add--that he was helping a neighbor clear her property and the trailer happened to be one of the items she wanted cleared. He jumped on it like a rat on to a moldy piece of cheese.
I got to thinking about what Marg would do if I suddenly showed up towing a 100 foot long heavily used trailer. "Hey babe, look what I found. Ain't it great. I'll just park it in front of our house for the next 25 years or so. You won't even notice it's there." Hmmm....
Take a close gander at this work of art. You can clearly see the weld marks mid-trailer. This baby is obviously two trailers that have been welded together to create a spacious little mobile mansion. One that can only be found in Mina, Nevada. At Jeff's house. It's a beautiful thing to behold.
Give me the simple life.
Mina, Nevada
ERS WDP-4D with Trivandrum-Nizamuddin Rajdhani express thunders past the mainline at Savarda,as Porbandar-Kochuveli express waits at the loop line.
With a single tank car to deliver to Rock Valley Oil in Loves Park, the Union Pacific local from Belvidere, IL gets walked past a broken rail in the middle of North Madison Street in Rockford on this cold Wednesday, 1-30-2019. They have to shove the tank into the facility, so they run with a loco on each end to make the move.
title.
Lisa13 ( guitar )
live house. Crescendo. Kichijoji. Tokyo. Japan.
(FUJIFILM GFX50R shot)
2020.1.23 ~
BAD BABY BOMB
1st Single 『Being a girl』
Delivery start!
BAD BABY BOMB are ..
Vo.Nicky
Gt.Lisa13
Ba.Nalucharos
Dr.Kuro
HP
➡︎ mobile.twitter.com/badbabybomb
➡︎ www.instagram.com/badbabybomb/
Copyright. BAD BABY BOMB. All Rights Reserved. / badbabybomb.com
live house. Crescendo. Kichijoji. Tokyo. Japan. July 7. 2019.shot ... ... 13 / 19
(Today 's picture, it is unpublished.)
Images.
BAD BABY BOMB… Being a girl
BAD BABY BOMB-Being a girl (Teaser Video)
Summer1990
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Moth in Lilac.
Moth in Lilac. : twitter.com/Moth_in_Lilac
Ayano : vocal : twitter.com/sfn_ayano
Lisa 13 : guitar : twitter.com/lhjw121315666
NalchaRos : bass : twitter.com/Nalu_chaRos223
You : guitar : twitter.com/you_ogami
M9N : drums : twitter.com/mokuniuka
V.I.P. Design Machine : twitter.com/vipdm69
New mini Album. OUT NOW.
Mayve U
www.amazon.co.jp/dp/B07T8XM9RR/ref=cm_sw_em_r_mt_dp_U_XHn...
Official.
YOUTUBE.
Copyright. Moth in Lilac. All Rights Reserved. / mothinlilac.com
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
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Interviews and novels.
About my book.
I published a book in old days.
At that time, I was uploading my interview on the net on the net.
That Japanese and English.
I will make it public for free.
Details were explained to the Amazon site.
How to write a novel.
How to take pictures.
Distance to the work.
They all have a common item.
I made a sentence about what I felt, and left it.
I hope that my text can be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
3 Interview Japanese version
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
4 novels. unforgettable ' JPN version.
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
5 A streamlined trajectory. only Japanese.
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis.
Kei Kitami who aims at university.
A 6 year old older event companion woman. Meet Kaori Uemura on SNS.
The dream of Kaori who has moved to Tokyo.
It is to be a friend of the artist.
The producer of the radio station for that. The existence of Ryo Osawa was necessary.
Live on the radio.Osawa talks to Kaori.
"I have a wife and a child, but I want to see you."
Kei’s classmate Rika Sanzyou who is thinking of him.
She was searching for Kaori.
※ Supplement
I use Google Translate.
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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Exhibition of 2021.
Tuesday, May 11-Sunday, May 16
The Kawamura Memorial DIC Museum of Art @ Gallery 1.
place. Sakura City, Chiba Prefecture.
theme.
Ever since that day ...
2022 exhibition.
theme.
So Near, So far.
place. Tokyo Big Site.
Sponsoring. Design festa.
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
I updated Youtube.
It is only in Japanese.
I explained comments on photos etc.
If your time is permitted, please look.
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
4
Why did not you have a camera so far?
5
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell, I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
10
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs, it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
It's really long, but I want to leave everything, so please ask. (^ O ^) /
Japanese only.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well, what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview, it is the same as writing a novel.
7 I want to show it to someone, but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays, it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
It is a flow of.
If you have time, please listen.
:)
www.youtube.com/user/mitsushiro/
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Explanation of composition. 2
I used the following cameras.
Nikon coolpix 8700
I defeated two of these cameras.
It was a very nice camera.
I took many photos with this camera.
Today's photo.
It was also taken with this camera.
I explained the composition in detail in the text at the time of shooting.
I have taken a lot of pictures until today.
Among them, this photo is the result of sharpening my sensitivity.
I will explain this composition in a video.
But they are all Japanese.
Is there a Japanese beside you?
Is there anyone who can understand Japanese beside you?
Please have them translate.
I leave an important story about composition.
I hope they will reach many people.
October 22, 2019, midnight.
Mitsushiro.
1.Composition explanation 2 ... 1/4
2.Composition explanation 2 ... 2/4
3.Composition Explanation 2 ... 3/4
4.Composition Explanation 2 ... 4/4
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My shutter feeling.
Today's photo.
It is a photo taken from Eurostar.
This video is an explanation.
I went to Milan in 2005.
At that time, I went from Milan to Venice.
We took Eurostar into the transportation.
This photo was not taken from a very fast Eurostar.
When I changed the track, I took a picture at the moment I slowed down.
Is there a Japanese beside you?
Please have my video translated.
:)
Mitsushiro.
( Nikon Coolpix 8700. shot)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
stealaway.cocolog-nifty.com/stealaway/2019/05/post-70842e...
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flickr.
www.flickr.com/photos/stealaway/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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My statistics. (As of May 16, 2019)
stealaway.cocolog-nifty.com/stealaway/2019/05/post-199d28...
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Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
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#Milan #Italy #LUMIX #G3 #FUJIFILM #MothinLilac #MIL #GFX50R #Hnolulu #Mono #Chiba #Japan #Exhibition #Flickr #YOUPIC #gallery #Camera #collage #Subway #street #Novel #Publishing #Mitsushiro #Nakagawa #artist #NY #Interview #Photograph #picture #Hawaii #take #write #novel #display #art #future #designfesta #Kawamura #Memorial #DIC #Museum #Fineart #川村記念美術館 #Manhattan #USA #London #UK #Paris #Kawamura
For insta
#川村記念美術館 #Manhattan #London #Paris #kawamura #Milan #MothinLilac #LUMIX #MIL #FUJIFILM #GFX50R #Honolulu #Fineart #Japan #Exhibition #Flickr #YOUPIC #Camera #Subway #street #Novel #Publishing #Mitsushiro #artist #Photograph #picture #novel #Fineart #future #designfesta
For twitter
#NY #London #Paris #Milan #LUMIX #FUJIFILM #川村記念美術館 #写真 #Exhibition #Flickr #Camera #street #Hawaii #Honolulu #Mitsushiro #artist #Kawamura #designfesta #Fineart
#ミラノ #イタリア #カメラ #写真 #構図 #ニコン #Nikon #coolpix #クールピクス #ベニス #ユーロスター #Eurostar #シャッター #shutter #camera #photo #picture #千葉 #日本 #chiba #Japan #八街 #佐倉
For insta, twitter
#yachimata #chiba #japan #mono #selfportrait #exibition #kawamuramemorialdicmuseumofart #八街 #千葉 #日本 #展示 #川村記念美術館 #写真 #nikon #ニコン #iphone11pro
#yachimata #chiba #japan #mono #honolulu #exhibition #hawaii #kawamuramemorialdicmuseumofart #八街 #千葉 #日本 #展示会 #川村記念美術館 #ハワイ #写真 #アップル #shotoniphone #ホノルル #ワイキキ
#yachimata #chiba #japan #monochrome #honolulu #exhibition #hawaii #kawamuramemorialdicmuseumofart #八街 #千葉 #日本 #展示 #川村記念美術館 #ハワイ旅行 #カメラ #富士フィルム #gfx50r #lumix #パナソニック #アップル #shotoniphone #ホノルル #ワイキキ #写真 #吉祥寺 #ライブハウス #クレッシェンド #東京 #bbb #badbabybomb
タイトル。
Lisa13 ( guitar )
ライブハウス。クレッシェンド 。吉祥寺。東京。日本。
( FUJIFILM GFX50R shot )
2020.1.23～
BAD BABY BOMB
1st Single 『 Being a girl 』
配信スタート！
BAD BABY BOMB are..
Vo.Nicky
Gt.Lisa13
Ba.Nalucharos
Dr.Kuro
HP
➡︎ mobile.twitter.com/badbabybomb
➡︎ www.instagram.com/badbabybomb/
Copyright. BAD BABY BOMB. All Rights Reserved. / badbabybomb.com
ライブハウス。クレッシェンド 。吉祥寺。東京。日本。 7月7日。2019. shot ... ... 13 / 19
(Today 's picture, it is unpublished.)
Images.
BAD BABY BOMB … Being a girl
BAD BABY BOMB - Being a girl (Teaser Video)
Summer1990
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Moth in Lilac.
Moth in Lilac. : twitter.com/Moth_in_Lilac
Ayano : vocal : twitter.com/sfn_ayano
Lisa 13 : guitar : twitter.com/lhjw121315666
NalchaRos : bass : twitter.com/Nalu_chaRos223
You : guitar : twitter.com/you_ogami
M9N : drums : twitter.com/mokuniuka
V.I.P. Design Machine : twitter.com/vipdm69
New mini Album. OUT NOW.
Mayve U
www.amazon.co.jp/dp/B07T8XM9RR/ref=cm_sw_em_r_mt_dp_U_XHn...
Official.
YOUTUBE
Apple Music
music.apple.com/jp/album/moth-in-lilac/1441243472
Copyright. Moth in Lilac. All Rights Reserved. / mothinlilac.com
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
１ インタビュー 英語版
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
２ 小説。unforgettable’ 英語版。
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
３ インタビュー 日本語版
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
５ 流線形の軌跡。 日本語のみ。
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
もう少し時間をください。それは日本語です。
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２０２１年の展示。
５月１１日 火曜日 ～ ５月１６日 日曜日
DIC川村記念美術館 第１付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
２０２２年の展示。
テーマ。
So Near , So far.
場所。東京ビッグサイト。
Sponsoring. Design festa.
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僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
僕はYoutubeを更新しました。
日本語だけです。
僕は写真などの解説をしました。
もしも、あなたの時間が許されれば、見てください。
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
作品の制作方法などついて語りました。
すっごい長いですが、すべて伝え残したいことなので聞いてください。(^O^)／
日本語のみです。
作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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構図の解説２
僕は以下のカメラを使用していました。
Nikon coolpix 8700
僕はこのカメラを二台使い倒しました。
とても素敵なカメラでした。
このカメラでたくさんの写真を撮りました。
今日の写真。
それもこのカメラで撮影しました。
この構図について、僕は撮影した当時詳しくテキストで解説しました。
僕は今日までたくさんの写真を撮ってきました。
その中でも、この写真はもっとも僕の感性を研ぎ澄ました結果です。
僕はこの構図について、動画で解説します。
しかし、それらはすべて日本語です。
あなたのそばに日本人はいますか？
あなたのそばに日本語がわかる人はいますか？
彼らに訳してもらってください。
僕は、構図について大切な話を残します。
それらが多くの人へ伝わることを望みます。
2019年10月２２日深夜。
Mitsushiro.
1.構図の解説２ ... 1/4
2.構図の解説２ ... 2/4
3.構図の解説２ ... 3/4
4.構図の解説２ ... 4/4
Nikon Coolpix 8700
１ アマゾンの評価
www.amazon.co.jp/ニコン-E8700-J-ニコン-デジタル...
２ ニコンの情報
www.nikon-image.com/products/compact/lineup/8700/
#写真 #構図 #カメラ #イタリア #ミラノ #中央駅 #２００５年 #ニコン #クールピクス８７００
#Photo #Composition #Camera #Italy #Milan #Central #Station #2005 #Nikon #Coolpix 8700
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僕のシャッター感覚
今日の写真。
それは、ユーロスターから撮影した写真です。
この動画はその解説です。
２００５年にミラノへ行きました。
そのとき、ミラノからヴェニスへ向かいました。
交通手段に、僕らはユーロスターを乗り込みました。
この写真は、猛スピードのユーロスターから撮影したのではありません。
線路を変更した際、スピードを落とした瞬間に撮影しました。
あなたのそばに日本人はいますか？
僕の動画を翻訳してもらってください。
:)
Mitsushiro.
( Nikon Coolpix 8700. shot)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
stealaway.cocolog-nifty.com/stealaway/2019/05/post-70842e...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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僕の統計。（2019年5月16日現在）
stealaway.cocolog-nifty.com/stealaway/2019/05/post-199d28...
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「日本の経営者は奇跡的無能」
stealaway.cocolog-nifty.com/stealaway/2019/06/post-926bf5...
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Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
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#Milan #Italy #LUMIX #G3 #FUJIFILM #MothinLilac #MIL #GFX50R #Hnolulu #Mono #Chiba #Japan #Exhibition #Flickr #YOUPIC #gallery #Camera #collage #Subway #street #Novel #Publishing #Mitsushiro #Nakagawa #artist #NY #Interview #Photograph #picture #Hawaii #take #write #novel #display #art #future #designfesta #Kawamura #Memorial #DIC #Museum #Fineart #川村記念美術館 #Manhattan #USA #London #UK #Paris #Kawamura
For insta
#川村記念美術館 #Manhattan #London #Paris #kawamura #Milan #MothinLilac #LUMIX #MIL #FUJIFILM #GFX50R #Honolulu #Fineart #Japan #Exhibition #Flickr #YOUPIC #Camera #Subway #street #Novel #Publishing #Mitsushiro #artist #Photograph #picture #novel #Fineart #future #designfesta
For twitter
#NY #London #Paris #Milan #LUMIX #FUJIFILM #川村記念美術館 #写真 #Exhibition #Flickr #Camera #street #Hawaii #Honolulu #Mitsushiro #artist #Kawamura #designfesta #Fineart
#ミラノ #イタリア #カメラ #写真 #構図 #ニコン #Nikon #coolpix #クールピクス #ベニス #ユーロスター #Eurostar #シャッター #shutter #camera #photo #picture #千葉 #日本 #chiba #Japan #八街 #佐倉
For insta, twitter
#yachimata #chiba #japan #mono #selfportrait #exibition #kawamuramemorialdicmuseumofart #八街 #千葉 #日本 #展示 #川村記念美術館 #写真 #nikon #ニコン #iphone11pro
#yachimata #chiba #japan #mono #honolulu #exhibition #hawaii #kawamuramemorialdicmuseumofart #八街 #千葉 #日本 #展示会 #川村記念美術館 #ハワイ #写真 #アップル #shotoniphone #ホノルル #ワイキキ
#yachimata #chiba #japan #monochrome #honolulu #exhibition #hawaii #kawamuramemorialdicmuseumofart #八街 #千葉 #日本 #展示 #川村記念美術館 #ハワイ #カメラ #富士フィルム #gfx50r #lumix #パナソニック #アップル #shotoniphone #ホノルル #ワイキキ #写真 #吉祥寺 #ライブハウス #クレッシェンド #東京 #bbb #badbabybomb #apple-car #airpodspro #AR
BBBの２２枚の写真が終わったら、ハワイへ出発する前の成田空港写真を、つぎにハワイへ戻します。
:)
アップルカーについてずっと語りたくてやっとできました(^O^)／
アップルカーのプレゼン、価格、その様相。などなど。
勝手に語りましたので是非聴いてください(^O^)／
あぁ、たのしいー😊
１回目
Apple car - Air pods pro - AR ３つ絡めて語りました😃
２回目
アップルカーってどうなるの？ 予想してみました😃
３回目
アップルカーのお話、3回目です😃
E
This single engine aircraft taxi's to the runway at the 2017 Stuart Airshow in Stuart, Florida. Prints, an many other products, are available with this image on my website at www.tom-claud.pixels.com.
"There was a single blue line of crayon drawn across every wall in the house. What does it mean? I said. A pirate needs the sight of the sea, he said and then he pulled his eye patch down and turned and sailed away."
~ from Crayon Pirate (Story People)
Texture: les brumes --Many Thanks!
You can follow more of my work on Facebook at: www.facebook.com/adrianmurrayphotography
Or on Instagram : @adrmurray
My very remote campsite in the Anza-Borrego Desert. I have everything I need here: my camper, my truck, campfire, chair, and solitude, and a starry sky.
This is also my first Milky Way photo of 2021. Conditions for shooting the Milky Way were less than ideal: the rising moon was just below the mountains and Milky Way, winds were stirring up dust in the air, and there was lots of light pollution in the sky from all the off-roaders at Ocotillo Wells to the east. Fortunately I was still able to make this shot work. There was a brief pause in the wind that allowed the ocotillo to stay still long enough for me to shoot this photo. I illuminated the foreground with my LED headlamp on the lowest setting. As for the campfire, it was actually just some very faint coals, but the longer exposure and wide aperture makes it appear like a normal campfire here.
This is a single exposure shot with a Canon EOS R and Sigma 24mm f/1.4 lens at 6 sec f/1.8 ISO 3200.
You have people come into your life shockingly and surprisingly. You have losses that you never thought you'd experience. You have rejection and you have learn how to deal with that and how to get up the next day and go on with it.
- Taylor Swift
Historical research reveals that diverse political rationalities have framed the political means and objectives of state frontiers and borders, just as the difficult work of making borders actual has drawn upon a great variety of technologies
The single word ”border” conceals a multiplicity and implies a constancy where genealogical investigation uncovers mutation and descent. Historical research reveals that diverse political rationalities have framed the political means and objectives of state frontiers and borders, just as the difficult work of making borders actual has drawn upon a great variety of technologies and heterogeneous administrative practices, ranging from maps of the territory, the creation of specialized border officials, and architectures of fortification to today’s experimentation with bio- digitalized forms of surveillance. This chapter argues that we are witnessing a novel development within this history of borders and border-making, what I want to call the emergence of the humanitarian border. While a great deal has been written about the militarization, securitization and fortification of borders today, there is far less consideration of the humanitarianization of borders. But if the investment of border regimes by biometric technologies rightly warrants being treated as an event within the history of the making and remaking of borders (Amoore 2006), then arguably so too does the reinvention of the border as a space of humanitarian government.
Under what conditions are we seeing the rise of humanitarian borders? The emergence of the humanitarian border goes hand in hand with the move which has made state frontiers into privileged symbolic and regulatory instruments within strategies of migration control. It is part of a much wider trend that has been dubbed the ”rebordering” of political and territorial space (Andreas and Biersteker 2003). The humanitarian border emerges once it becomes established that border crossing has become, for thousands of migrants seeking, for a variety of reasons, to access the territories of the global North, a matter of life and death. It crystallizes as a way of governing this novel and disturbing situation,and compensating for the social violence embodied in the regime of migration control.The idea of a humanitarian border might sound at first counterintuitive or even oxymoronic. After all, we often think of contemporary humanitarianism as a force that, operating in the name of the universal but endangered subject of humanity, transcends the walled space of the inter-national system. This is, of course, quite valid. Yet it would be a mistake to draw any simple equation between humanitarian projects and what Deleuze and Guattari would call logics of deterritoralization. While humanitarian programmes might unsettle certain norms of statehood, it is important to recognize the ways in which the exercise of humanitarian power is connected to the actualization of new spaces. Whether by its redefinition of certain locales as humanitarian ”zones” and crises as ”emergencies” (Calhoun 2004), the authority it confers on certain experts to move rapidly across networks of aid and intervention, or its will to designate those populating these zones as ”victims,” it seems justified to follow Debrix’s (1998) observation that humanitarianism implies reterritorialization on top of deterritorialization. Humanitarian zones can materialize in various situations – in conflict zones, amidst the relief of famine, and against the backdrop of state failure. But the case that interests me in what follows is a specific one: a situation where the actual borders of states and gateways to the territory become themselves zones of humanitarian government. Understanding the consequences of this is paramount, since it has an important bearing on what is often termed the securitization of borders and citizenship.
Foucault and Frontiers
It is probably fair to say that the theme of frontiers is largely absent from the two courses that are today read together as Foucault’s lectures on ”governmentality” (Foucault 1991; 2007; 2008). This is not to suggest that frontiers receive no mention at all. Within these lectures we certainly encounter passing remarks on the theme. For instance, Foucault speaks at one point of ”the administrative state, born in the territoriality of national boundaries in the fifteenth and sixteenth centuries and corresponding to a society of regulation and discipline” (Foucault 1991: 104).1 Elsewhere, he notes how the calculation and demarcation of new frontiers served as one of the practical elements of military-diplomatic technology, a machine he associates with the government of Europe in the image of a balance of power and according to the governmental logic of raison d’état. ”When the diplomats, the ambassadors who negotiated the treaty of Westphalia, received instructions from their government, they were explicitly advised to ensure that the new frontiers, the distribution of states, the new relationships to be established between the German states and the Empire, and the zones of influence of France, Sweden, and Austria be established in terms of a principle: to maintain a balance between the different European states” (Foucault 2007: 297).
But these are only hints of what significance the question of frontiers might have within the different technologies of power which Foucault sought to analyze. They are only fragmentary reflections on the place borders and frontiers might occupy within the genealogy of the modern state which Foucault outlines with his research into governmentality.2
Why was Foucault apparently not particularly interested in borders when he composed these lectures? One possible answer is suggested by Elden’s careful and important work on power-knowledge and territory. Elden takes issue with Foucault for the way in which he discusses territorial rule largely as a foil which allows him to provide a more fully-worked out account of governmentality and its administration of population. Despite the fact that the term appears prominently in the title of Foucault’s lectures, ”the issue of territory continually emerges only to be repeatedly marginalized, eclipsed, and underplayed” (Elden 2007: 1). Because Foucault fails to reckon more fully with the many ways in which the production of territory – and most crucially its demarcation by practices of frontier marking and control – serves as a precondition for the government of population, it is not surprising that the question of frontiers occupies little space in his narrative.But there is another explanation for the relative absence of questions of frontiers in Foucault’s writing on governmentality. And here we have to acknowledge that, framed as it is previously, this is a problematic question. For it risks the kind of retrospective fallacy which projects a set of very contemporary issues and concerns onto Foucault’s time. It is probably fair to speculate that frontiers and border security was not a political issue during the 1970s in the way that it is today in many western states. ”Borders” had yet to be constituted as a sort of meta-issue, capable of condensing a whole complex of political fears and concerns, including globalization, the loss of sovereignty, terrorism, trafficking and unchecked immigration. The question of the welfare state certainly was an issue, perhaps even a meta-issue, when Foucault was lecturing, and it is perhaps not coincidental that he should devote so much space to the examination of pastoralism. But not the border. The point is not to suggest that Foucault’s work evolved in close,
Humanitarian Government
Before I address the question of the humanitarian border, it is necessary to explain what I understand by the humanitarian. Here my thinking has been shaped by recent work that engages the humanitarian not as a set of ideas and ideologies, nor simply as the activity of certain nongovernmental actors and organizations, but as a complex domain possessing specific forms of governmental reason. Fassin’s work on this theme is particularly important. Fassin demonstrates that humanitarianism can be fruitfully connected to the broader field of government which Foucault outlined, where government is not a necessary attribute of states but a rationalized activity than can be carried out by all sorts of agents, in various contexts, and towards multiple ends. At its core, ”Humanitarian government can be defined as the administration of human collectivities in the name of a higher moral principle which sees the preservation of life and the alleviation of suffering as the highest value of action” (Fassin 2007: 151). As he goes on to stress, the value of such a definition is that we do not see a particular state, or a non-state form such as a nongovernmental organization, as the necessary agent of humanitarian action. Instead, it becomes possible to think in terms of a complex assemblage, comprising particular forms of humanitarian.reason, specific forms of authority (medical, legal, spiritual) but also certain technologies of government – such as mechanisms for raising funds and training volunteers, administering aid and shelter, documenting injustice, and publicizing abuse. Seen from this angle humanitarianism appears as a much more supple, protean thing. Crucially, it opens up our ability to perceive ”a broader political and moral logic at work both within and outside state forms” (ibid.).
If the humanitarian can be situated in relation to the analytics of government, it can also be contextualized in relation to the biopolitical. ”Not only did the last century see the emergence of regimes committed to the physical destruction of populations,” observes Redfield, ”but also of entities devoted to monitoring and assisting populations in maintaining their physical existence, even while protesting the necessity of such an action and the failure of anyone to do much more than this bare minimum” (2005: 329). It is this ”minimalist biopolitics,” as Redfield puts it, that will be so characteristic of the humanitarian. And here the accent should be placed on the adjective “minimalist” if we are not to commit the kind of move which I criticized above, namely collapsing everything new into existing Foucauldian categories. It is important to regard contemporary humanitarianism as a novel formation and a site of ambivalence and undecideability, and not just as one more instance of what Hardt and Negri (2000) might call global “biopolitical production.”The Birth of the Humanitarian Border
In a press release issued on June 29, 2007, the International Organization for Migration (IOM) publicized a visit which its then Director General, Brunson McKinley, was about to make to a ”reception centre for migrants” on the Mediterranean island of Lampedusa (IOM 2007). The Director General is quoted as saying: ”Many more boats will probably arrive on Lampedusa over the summer with their desperate human cargo and we have to ensure we can adequately respond to their immediate needs.... This is why IOM will continue to work closely with the Italian government, the Italian Red Cross, UNHCR and other partners to provide appropriate humanitarian responses to irregular migrants and asylum seekers reaching the island.”
The same press release observes that IOM’s work with its ”partners” was part of a wider effort to improve the administration of the ”reception” (the word ”detention” is conspicuously absent) and ”repatriation” of ”irregular migrants” in Italy. Reception centers were being expanded, and problems of overcrowding alleviated. The statement goes on to observe that IOM had opened its office on Lampedusa in April 2006. Since that time ”Forced returns from Lampedusa [had] stopped.”
Lampedusa is a small Italian island located some 200 km south of Sicily and 300 km to the north of Libya. Its geographical location provides a clue as to how it is that in 2004 this Italian outpost first entered the spotlight of European and even world public attention, becoming a potent signifier for anxieties about an international migration crisis (Andrijasevic 2006). For it was then that this Italian holiday destination became the main point of arrival for boats carrying migrants from Libya to Italy. That year more than 10,000 migrants are reported to have passed through the ”temporary stay and assistance centre” (CPTA) the Italian state maintains on the island. The vast majority had arrived in overcrowded, makeshift boats after a perilous sea journey lasting up to several weeks. Usually these boats
are intercepted in Italian waters by the Italian border guards and the migrants transferred to the holding center on the island. Following detention, which can last for more than a month, they are either transferred to other CPTAs in Sicily and southern Italy, or expelled to Libya.Finally, there is a point to be made about humanitarianism, power and order. Those looking to locate contemporary humanitarianism within a bigger picture would perhaps follow the lead of Hardt and Negri. As these theorists of ”Empire” see things, NGOs like Amnesty International and Médecins sans Frontières (MSF) are, contrary to their own best intentions, implicated in global order. As agents of ”moral intervention” who, because they participate in the construction of emergency, ”prefigure the state of exception from below,” these actors serve as the preeminent ”frontline force of imperial intervention.” As such, Hardt and Negri see humanitarianism as ”completely immersed in the biopolitical context of the constitution of Empire” (Hardt and Negri 2000: 36).Humanitarianism, Borders, Politics
Foucauldian writing about borders has mirrored the wider field of governmentality studies in at least one respect. While it has produced some fascinating and insightful accounts of contemporary strategies and technologies of border-making and border policing, it has tended to confine its attention to official and often state-sanctioned projects. Political dynamics and political acts have certainly not been ignored. But little attention has been paid to the possibility that politics and resistance operate not just in an extrinsic relationship to contemporary regimes, but within them.12 To date this literature has largely failed to view politics as something constitutive and productive of border regimes and technologies. That is to say, there is little appreciation of the ways in which movements of opposition, and those particular kinds of resistance which Foucault calls ”counter conduct,” can operate not externally to modes of bordering but by means of ”a series of exchanges” and ”reciprocal supports” (Foucault 2007: 355).
There is a certain paradox involved when we speak of Foucault and frontiers. In certain key respects it could be said that Foucault is one of our most eminent and original theorists of bordering. For at the heart of one of his most widely read works – namely Discipline and Punish – what does one
find if not the question of power and how its modalities should be studied by focusing on practices of partitionment, segmentation, division, enclosure; practices that will underpin the ordering and policing of ever more aspects of the life of populations from the nineteenth century onwards. But while Foucault is interested in a range of practices which clearly pertain to the question of bordering understood in a somewhat general sense, one thing the reading of his lectures on security, governmentality and biopolitics reveals is that he had little to say explicitly about the specific forms of bordering associated with the government of the state. To put it differently, Foucault dealt at length with what we might call the microphysics of bordering, but much less with the place of borders considered at the level of tactics and strategies of governmentality.Recent literature has begun to address this imbalance, demonstrating that many of Foucault’s concepts are useful and important for understanding what kinds of power relations and governmental regimes are at stake in contemporary projects which are re-making state borders amidst renewed political concerns over things like terrorism and illegal immigration. However, the overarching theme of this chapter has been the need for caution when linking Foucault’s concepts to the study of borders and frontiers today. While analytics like biopolitics, discipline and neoliberalism offer all manner of insights, we need to avoid the trap which sees Foucault’s toolbox as something ready-made for any given situation. The challenge of understanding the emergent requires the development of new theoretical tools, not to mention the sharpening of older, well-used implements. With this end in mind the chapter has proposed the idea of the humanitarian border as a way of registering an event within the genealogy of the frontier, but also, although I have not developed it here, within the genealogy of citizenship.
What I have presented previously is only a very cursory overview of certain features of the humanitarianization of borders, most notably its inscription within regimes of knowledge, and its constitutive relationship to politics. In future research it would be interesting to undertake a fuller mapping of the humanitarian border in relation to certain trajectories of government. While we saw how themes of biopolitical and neoliberal government are pertinent in understanding the contemporary management of spaces like the detention center, it would seem especially relevant to consider the salience of pastoralism. Pastoral power has received far less attention within studies of governmentality than, say, discipline or liberal government (but see Dean 1999; Golder 2007; Hindess 1996; Lippert 2004). But here again, I suspect, it will be important to revise our concepts in the light of emergent practices and rationalities. For the ways in which NGOs and humanitarians engage in the governance of migrants and refugees today have changed quite significantly from the kinds of networks of care, self-examination and salvation which Foucault identified with pastoralism. For instance, and to take but one example, the pastoral care of migrants, whether in situations of sanctuary or detention, is not organized as a life-encompassing, permanent activity as it was for the church, or later, in a secular version, the welfare state. Instead, it is a temporary and ad hoc intervention. Just as Foucault’s notion of neo-liberalism was intended to register important transformations within the genealogy of liberal government, it may prove useful to think in terms of the neo-pastoral when we try to make better sense of the phenomenon of humanitarian government at/of borders, and of many other situations as well.
williamwalters.net/wp-content/uploads/2012/06/2011-Foucau...
43027 '90 Glorious Years' with 43162 out of sight on the rear depart Malvern Link on Sunday 3-7-16.
I've lost my notes on the working so will add when I get the chance.
Due to engineering work at Malvern Wells trains were only running to Great Malvern and using the down track only.
Quote from it's carton:
Penderyn produce award-winning single malt whiskies and spirits at our distillery on the foothills of the magnificant Brecon Beacons in South Wales.
Welsh Gold is extremely rare and precious and was worn by legendary Welsh princes. These are qualities shared by our Gold range of premium strength whiskies.
Penderyn Single Malt has a light fruitiness, generous flavour and a subtle complexity. Our unique stills produce a spirit of extraordinary strength and purity. This is married with water from the Breacon Beacons National Park and matured in the finest ex-bourbon barrels, and are finished in a hand selected ex-Madeira wine casks.
TASTING NOTES
Nose: A classic freshness with aromas of cream toffee, rich fruit and raisins. Palate: Crisp and finely rounded, with the sweetness to balance an appetising dryness. Finish: Notes of tropical fruit, raisins and vanilla persist. Balance: Oaky vanilla tones / dry sweetness.
NON CHILL FILTERED NO COLOUR ADDED
The Welsh Whisky Company, Penderyn Distillery, Penderyn, Wales
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All Rights Reserved © 2022 Frederick Roll
Please do not use this image without prior permission
I just realized, it’s the 11th of April and I don’t have a single sunrise to show you from this month. How sad is that? I’ve got 2,800+ photos for the month but no sunrises. Oh well. Between trying to save the country and traveling to Florida and back (family visit) I’ve been a little busy. But, that is one of the main reasons I shoot sunrises (as opposed to sunsets)…nobody bothers you at sunrise.
Oh well. As "proof of life”, I submit this pre-sunrise picture. I have been up there, every morning. But the Sun has not been cooperating. From April 2nd. The breaks in the clouds gave me hope but, alas, the Sun didn’t show. It’s still a beautiful time of day.
Nikon D7500 — Nikon 18-300mm F6.3 ED VR
22mm
F8@30 seconds
ISO 400
Cropped
DSB_3140.JPG
©Don Brown 2025
This is from my second trip up to the north Devon coastline, this time on my own. Considering the numerous miles of web like identical single track roads, I managed to get there with time to enjoy the sunset. Anyway, for me this image is working, but I suspect that a visit in early autumn would be more fruitful, due to the position of the sunset. It’s a tricky location to work beyond the obvious and in the two trips I have made it there, I feel a third trip in good conditions would be a welcome addition. Anyway, not a chance till next year, but I can keep it as a place that is as yet to be resolved.
Single continuous exposure.
During October 26/27 I'm presenting several sessions at PhotoLive in London. My focus is naturally on long exposures but I'm a firm believer there's no better way than the slow pace of night to improve your camera handling skills in full manual mode.
Whatever your interests, whichever camera system you use and however you use it head to the PhotoLive website to book and reserve your place for the many & varied sessions throughout the weekend.
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