"Giraffes" Nikon FE2 - Nikkor 24mm 2.8 on Fujifilm Velvia 50, scan from film.
I started photographing Tokyo's landscapes in 2008, exactly the first time I moved a step in Japan. Since then I never stopped.
This part of Odaiba has been one of my favorite subjects.
The container lifters on the other side of the harbor look like giraffes walking.
The best part of photography is the preparation. It starts from home with a map, timetable of sunset, the logistics, transportation, orientation and then the gear, the right film. I spend a few days planning the place I want to go to. I found this spot by scanning Google street view every single picture of this coast.
At the time I lived in the North of Tokyo and getting to Shin Kiba was kind of a journey.
This particular structure situated inside a maritime park is close to the ferry dock. There is some sort of museum or maybe an observatory (at that time I didn't speak Japanese so well, so I might misread the signs). The big triangle was illuminated from the bottom, the cast of Velvia 50 at sunset matched perfectly the color temperature.
Nikon F3hp - Nikkor 24mm 2.8 on Fujifilm Velvia 50, scan from film.
Nikon FE2 - Nikkor 24mm 2.8 on Fujifilm Velvia 50, scan from film.
Sunset right before the storm, Odaiba, winter.
Tsukiji 2014. Mamiya 7, 43mm f4.5m on Kodak Ektar 100. Digital Scan from film.
Tsukiji area allows great elevated spots for landscape
I've been in this little harbor around Shinkiba several times. In winter, there is a time, close to sunset, when the city lights start peeking up, but the environment light is still blueish, in contrast with the red glow of Tokyo tower.
Mamiya 7 - 80mm f4 on Velvia 50
Left: Panorama from the Rainbow bridge. Right: streets of Nakano central park in winter.
Mamiya 7 - 65mm on Kodak Ektar 100
"Behind Rainbow bridge" Mamiya 7 - 43mm f4.5 - Fuji Astia 100F
Few times in 2014, I went out to explore the area behind the Tokyo Rainbow bridge. I was attracted to the small harbor located inside the ring that the train of the Yurikamome line does when leaving Shiodome for Odaiba. The little dock is visible from the train.
Mamiya 7 - 65mm f4.0 on expired Portra 400 pushed to 1600, scan from film.
Weird experiment with an expired roll of Portra 400 gave this even weirder outcome. Colors are completely oversaturated (exposed to 1600), although I kinda like the "dreamy pastel" effect that happened in development phase.