Eyes of Nikon

D800E | PC-E NIKKOR 24mm f/3.5D ED | ISO 500 | 1/160 | f/11


Norihito Ogata緒方 範人

Norihito Ogata was born in Tokyo in 1975.He attended the Maine Photographic Workshop (1999), the photography department at Herkimer County Community College (2001), and the Osamu Kanemura Workshop (2003). Ogata photographs the fa?ade of urban architecture, which are constructed as being in-between the state of the real and the virtual, the past and the present, as well as the fundamental and the superficial. His past exhibitions include “On the Shoreline” (G/P gallery, Tokyo, 2012) and “Algorithm” (g³/ gallery/ Spiral Garden, Tokyo, 2010). Ogata also participated in the Descubrimientos PH E08 and Foto España 08 (Madrid Spain/ 2008). He was selected for Jury Recommended Work at the 15th Japan Media Arts Festival 2012. http://www.asahi-net.or.jp/~jx7n-ogt

Photographer's Eye

I always keep distance in mind in order to shoot overlapping buildings in a parallel manner, and I can say that the 24mm f/3.5D PC lens I used for this project is a piece of equipment designed for photographing architecture. Buildings themselves are static and unmoving, so the process of shooting them is also static. I start by setting up a tripod to set the horizontal, and then using the camera's tilt correction to decide the vertical. Thanks to the PC lens, which doesn't require a series of movements in order to match the magnifying glass and point of focus for shots, I could take snaps. I also felt that the ease of handling was much better compared to the large format cameras. The 140-400mm (70-200mm f/2.8G+TC-20E) compresses distance, and thus compresses the reciprocal distance between every building in the line of sight. The telephoto effect allowed me to fit in the frame everything I could see on a straight line within my field of vision within the frame. I felt that the position of the shots from a location with a gap at a mid-range distance, for instance somewhere a bit high, was comfortable. Using a fully controllable PC lens allowed me to obtain undiminished image data, while the telephoto lens allowed me to remove the portions that I would feel were lost in a regular shot. These two lenses that are almost polar opposites in terms of focus distances provided me with a good opportunity to explore new areas of architectural photography.

Work of Norihito Ogata