Pro Photo West Summer 2021

Summer 2021 

Meiji Shrine Shinto Bride 

Photo by John Powers

From the Editor 

Welcome to the Summer 2021 Edition of Pro Photo West Magazine! 

In this issue, we continue, the “Large Format” article from Roger Daines, this is part 2 of 

3. From the Smoker features “Smoked Duck” and John Powers takes us to Tokyo to 

coincide with the Summer Olympic Games! Also Michael Collins continues his 

“Photoshop - Zero To 60” series. 

This year is quickly winding down and we will have one more issue before we start 2022. 

If you have any ideas or want to share some of your work and write about it, please do 

so. We would love to publish your work. Your article needs to be in a Word document, 

not a PDF or other type. Use 12 point font, single spacing and no more than 1,000 words 

(if you can). Any associated images must be jpegs at 4,000 pixels on the longest side at 

300 dpi. You can send them to: editor@ppconline.com and use wetransfer.com to send 

your images. wetransfer.com lets you send up to 2 gigabytes for free and that should be 

enough for at least 20 images. 

Pro Photo West Magazine is “Your” magazine and it will only be as good as the content 

that you send in. Please participate and help this magazine reah its full potential. It can 

only happen if you all help out. 

Until next time, 

Kevin 

ON THE COVER 

Waiting to marry - A Meiji Shrine Shinto Bride - Story and Photos by 

John Powers 

2 

Professional Photographers of California

A Huge Thank You to Our 

www.prophotoca.com 

Your Support is Greatly Appreciated! 


3

INSIDE THIS ISSUE 

6 Meet Your Executive Team 

President’s 

8 Message 9 

From the Smoker 

14 

Large Format is For Beginners 24 

Photoshop Zero to Sixty 

4 



22 

Meet your Affiliates 

28 Travel Photography Tokyo 

32 West Coast School 

www.prophotoca.com Summer 2021 

5

2021 OFFICERS 

PRESIDENT 

Jim Trapp, M.Photog.Cr, CPP, 

S-PPC 

president@ppconline.com 

FIRST VICE PRESIDENT 

Larry Skibiski, M.Photog.Cr, CPP 

firstvp@ppconline.com 

SECOND VICE PRESIDENT 

Karna Roa 

Professional Photographers of California, Inc. is a non-profit, 501(c)6 

trade association of professional photographers, employees, suppliers 

and others allied to the profession. Professional Photographers of 

California offers a variety of opportunities and benefits to its Members and 

is one of the largest state affiliates of Professional Photographers of 

America. Pro Photo West is the official publication of Professional 

Photographers of California and is published quarterly for the purpose of 

keeping Members informed of photographic information, news and 

activities of the state. Subscription is included with Member dues. 

Articles, with or without photographs, are welcome for review for inclusion 

in this publication. However the Editor reserves the right to edit and use 

articles on a space-available basis. Materials will not be returned unless a 

postage paid envelope is provided. Letters and contributions must include 

Name, email and phone number. Send all communication, articles or 

advertising to the Editor. Articles appearing in Pro Photo West reflect the 

opinions of the writer. They do not necessarily represent those of the 

Editor or Professional Photographers of California. Permission to reprint 

contents of this magazine is granted to similar photographic publications, 

provided the author, Professional Photographers of California and Pro 

Photo West are credited as the source. 

secondvp@ppconline.com 

SECRETARY 

Kevin Karzin 

secretary@ppconline.com 

TREASURER 

Robin Swanson, M.Photog.Cr, CPP, 

F-PPC, S-PPC, CPA, CGMA 

treasurer@ppconline.com 

CHAIRMAN OF THE BOARD 

Diane Costello, M.Photog.Cr, CPP, 

M-PPC, S-PPC 

cob@ppconline.com 

STAFF 

EXECUTIVE 

ADMINISTRATOR 

Mel Carll, M.Photog, S-PPC 

exec_admin@ppconline.com 

DIRECTOR, 

WEST COAST SCHOOL 

Michelle Pennings, CPP 

director@westcoastschool.com 

6 


www.prophotoca.com Summer 2021 7

President’s Message 

July 2021 

How exciting is this new edition of our PPC Magazine – full of interesting and informative articles on our 

favorite subjects! I hope you enjoy these member submissions and consider offering your articles and 

images for future editions. 

As your 2021 president, I wanted to extend a warm thank you to our membership. You have supported this 

organization through a very trying year and a half, from March of 2020 to the present. You stayed active 

with us through a very challenging time and on behalf of your Board of Directors and myself, I would like to 

express our gratitude for your support. All of us who are members of PPC are stakeholders in this 

organization and through your continued involvement, we will succeed in providing growth, education, and 

inspiration to our membership. 

PPC would not exist if it were not for a tremendous amount of behind-the-scenes activity that involves 

volunteers giving their time and efforts. Volunteerism is the lifeblood of Professional Photographers of 

California. Every year, we face unique challenges and every year, our membership steps up to the plate 

and helps out. That said, we have more challenges down the road, so as your president, I’m reaching out 

to you again. 

We have key position within our organization that we need to fill. Our first priority is finding a new Director 

for the 2022 sessions of our West Coast Schools. I personally wanted to say ‘thank you’ to Michelle 

Pennings for an outstanding job during a very difficult year. West Coast School had to remain in a virtual 

environment for 2021, and under Michelle’s leadership, this was successful from both an instructor and 

student standpoint. 

We are also looking for an Image Competition Chairperson for 2022. If you have interest in either position, 

please contact Mel in the PPC office. Our California workshops have been the icing on the cake for 2021 in 

peer-to-peer education. 

Our best news yet is that we are moving from a virtual environment to in-person workshops, beginning with 

Tim Myers workshop in September, which will be held in Southern California. I look forward to celebrating 

the success of future workshops as the year progresses. 

James Trapp 

8 


FROM THE SMOKER…….. 

by Mel Carll, M.Photog., S-PPC, BA-PPC 

KCBS Certified BBQ Judge 

Today we thought we would take our smoking up a notch. So today, we are going to smoke a couple of ducks. 

YES, DUCK….. Some are afraid of duck, as if it is not cooked well, can be very greasy. But using this recipe, 

not only is it NOT greasy, it’s also so good, you will put this in your regular rotation. 

The list of items needed is very small and it is SOOOO easy to make.: 

Duck - pat dry 

Salt 

Olive oil 

1/4 cup thick maple syrup 

salt over the entire bird. Then coat the entire duck with maple syrup. 

That’s it. Prep work is done. Now put the duck on your 250 degree smoker, and relax. 

Now, every 45 minutes, baste the duck with maple syrup, which develops the flavor and helps to crisp the skin. 

Continue to do this until the internal temperature reaches about 160 degrees. Once it does, pull off the smoker and 

place on a cutting board, tent with foil, and let rest for about 10 minutes. This lets the juices filter into the entire duck, 

so that when you slice, you don’t lose all that great flavor. 

Slice the duck and serv. We added some rice pilaf and Brussels sprouts sauted with bacon and onion as sides and 

paired dinner with a lovely bottle of Pinor Noir - simply perfect! 

So get out of your confort zone and try smoking a duck! 

Photos by Kevin Karzin 

KCBS Certitied BBQ Judge 

We made two ducks, as duck doesn’t have a lot of 

meat and what you have is all dark meat, so keep 

that in mind as you plan. 

So while we are prepping the duck, get your 

smoker up to temp. We cooked the duck at 250 

degrees. Remember poultry takes on smoke really 

easy, so be careful not to use too much in the area 

of added smoke. Cherry or apple works great, but 

you decide. 

While the smoker is coming to temp, take the 

duck and make 4 or 5 slices into the skin of the 

duck. This allows the fat to cook out and baste the 

duck with flavor. HOWEVER, be careful not to cut 

into the meat of the duck. Next, take the duck and 

sprinkle plenty of salt in the cavity. Next, brush the 

duck with olive oil, then sprinkle a light amount of 



9

Above: Prepping the duck, after piercing the skin 

to allow the fat to render, apply salt and maple 

syrup before putting it on the smoker. 

Right: Every 45 minutes re-apply the maple syrup 

as this adds flavor and helps the skin darken to a 

golden brown color. 

Above: Letting the duck rest a few minutes before 

carving. Right Middle: Getting ready to pull the 

ducks applying a little more maple syrup as the 

ducks finish. 

Along with duck we had grilled brussle sprouts and wild rice. 

10 


Top Left: Use a mixture of lump 

charcoal and apple wood to last 

about 3 to 4 hours. Top Right: 

Starting the charcoal. 

Middle: Both ducks have been 

prepped and put into smoker when 

the temperature reaches around 

250 degrees then close and cover 

the smoker. Every 30 minutes 

baste the duck with the maple 

syrup until finished. Approximately 

3 to 3 1/2 hours. 



11

12 

California

Workshops 

13

Large Format 

14 


for Beginners 

Roger B. Daines, M. Photog, Cr. Photog, CPP, 

CaM. Photog, API, RPS 

 

 

www.prophotoca.com Summer 202 15

Badwater Basin, Death Valley, California 

Part 2 of 3 

Starting With Large Format 

You will need to decide what LF camera you want, 4x5, 5x7, or 8x10. A lens for a 4x5 needs to have the 

covering power of a 5x7 camera to ensure there is no corner cut-off on the image. Most lenses will be 

ok. Used lenses are fine, (I purchased 2 from KEH many years ago and they’re still working fine today). 

The standard lens for the LF size of 4x5 is 150mm mounted on a lens board. You will need a lens 

spanner tool to change lenses on lens board if you only have one lens board, (my camera uses a Copal 

0 lens board), film holder(s), light meter (preferably with spot metering), loupe for focusing the image on 

the ground glass. (I like to use a 7x loupe), a cable release, dark cloth or ground glass hood, a sturdy 

tripod and lots of patience! I’ve added a Fresnel screen to my ground glass back as it disperses the 

light more evenly and makes the image brighter. Not essential, but a great help. A ground glass 

protector is also a good investment against scratches or other damage to the ground glass. This seems 

like you’ll need a Sherpa to carry everything, but my LF outfit, including the roll film and digital camera 

adapter, weighs 15 lbs and takes up no more than my DSLR and three zoom lenses. 

The Cost 

So, what does it cost to use a 4x5 view camera for all of this? My 4x45 equipment cost me 

approximately $3,200 with one lens. My D850 plus a standard lens has cost me about the same. The 

large difference is the cost of film, but this can be offset by not needing zoom lenses if you don’t shoot 

wildlife or sports. Because film is not used so much, the price has risen and it’s tougher to get all the 

different types. I’ve always loved using Fuji transparency film. It’s not hard to get and a lot more 

expensive. BUT, after some research I’ve found I can get the film from Japan, on Amazon Japan! It’s 

less expensive, genuine Fuji film and the postage is minimal. You can view the site in English on 

Amazon.Jpn. If we purchase more Fuji film, then maybe Fuji will start manufacturing and distributing in 

USA/UK? 

16 


Film 

My color film of choice has always been Velvia 50, but it’s really hard to find now and very expensive, a 

pack of 20 sheets of 4x5 costs around $150.00, $7.50 a sheet before processing. Makes you stop and 

really think of the composition and exposure! But the resulting image pretty much negates all of that 

concern. Velvia is a great film for low contrast situations. It brings out the colors beautifully. In high 

contrast situations the shadows can get blocked up and the highlights get too bright. This can 

sometimes be seen in a sunset image. 

Loading Film Holders 

Film holders for LF cameras hold 2 sheets of film-one sheet in each side-which must be loaded in a light 

tight area, either a blacked out room or in a changing bag. I highly recommend you practice loading the 

holders with some exposed sheet film in the light; it will pay dividends when it comes to loading in the 

dark. If you are using a room to load film or unload exposed film, just stay in the room for 2-3 minutes 

and let your eyes get accustomed to the dark. This is when you will see if it is “light tight”. If it’s not, 

then you can seal up the areas where there are light leaks before you open the film box. Film will fog 

with the slightest amount of light. Changing bags are great for loading or unloading film in the field and 

putting the film back into the boxes. Sheet film comes in a box with three sections which allows you to 

have a light tight environment for the film. The film holder has a dark slide in each side and at the top of 

one side is a black strip; on the other side, it’s white. First thing I do with a new holder is give the white 

strip a number that is sequential and permanent, this way you can track your exposures. The white side 

also allows you to write on it the type of film you have in the holder. The white edge of the dark slide in 

the holder signifies it’s unexposed film, or empty. After you have exposed the film you then reverse the 

dark slide when you replace it. The dark slide with black edge showing tells you you have exposed film 

in the holder. How do you know if the holder is empty? There is only one fool-proof way and that is to 

pull the darkslide out! If there’s film in the white edge side, bummer, you’ve wasted a sheet of film. If 

there’s film in the black edge side, then start cussing, stomping up and down, throwing things ‘cause 

you just ruined the best image you’ve ever captured!! Pushing the darkslide back in quickly doesn’t 

help! Been there, done that!! When you unload film turn, the darkslide so the white strip is showing then 


Navajo Octogenarian Couple 


17

at worst you’ll just waste a sheet of film, or leave the darkslide protruding an inch or so then you know 

there’s no film in the holder. 

Practice! 

My suggestion is to use an already exposed sheet of film if you have one and practice in the daylight a 

few times. Then practice in the dark. This will help eliminate any costly mistakes. It’s bad enough if you 

ruin a sheet of film before you capture an image, it’s even more frustrating to process the film and find 

you have ruined the perfect shot that you spent hours traveling to find, getting the perfect light and 

composition, only to find you loaded the film back to front or didn’t seat it correctly in the notches and 

you have a light leak! Been there and done that too! 

This will enable you to identify the film in the dark by feeling the notch. It is also important for loading 

into the holder with the correct orientation. Before loading, remove the darkslide and tap the holder on a 

hard surface a couple of times to remove any dust, clean the holder with a natural soft bristle brush to 

eliminate any fine dust, it’s also a good idea to use a can of air spray afterwards, but make sure there’s 

no damp residue. Clean the darkslide as well. Insert the darkslide part way into the holder with the 

white/silver side showing to inform you that it has been loaded with unexposed film. If you have 

removed the darkslide from the holder, you can identify the “white” side in the dark by feeling for the 

Braille “dimples” on the end of the strip. If you can’t feel them, then you need to turn the darkslide over 

before inserting it into the holder. Now’s the time to put all you need in your changing bag or darkroom. 

Remove a sheet of film from the box and “feel” for the notch. Open the flap on the holder and insert the 

film into slots either side of the holder. THE FILM NOTCH MUST BE ON THE RIGHT CORNER OF THE 

SHORT EDGE OF THE FILM WHEN LOADING! This will be the emulsion side of the film when you 

remove the darkslide for exposing. Once the film is securely in the holder, (check by trying to lift it with a 

finger nail, there’s a convenient hollow for your fingernail in the holder), close the flap and push the 

darkslide all the way in so that it locks into the flap. Indicate the type of film and ISO on the white/silver 

Salk Institute, San Diego, California 

18 


strip edge, e.g. TMax 400, writing with a pencil. You can then erase it after you’ve unloaded the film if 

you are going to use a different emulsion. Repeat for the other side of the holder, then use the clips to 

lock the dark slides. For further protection after I’ve loaded the holders, I place a piece of artist tape 

over the top. This is triple protection from accidentally exposing film. For unloading the exposed film, 

remove the dark slides, open the flap at the bottom, lift the film box ready to receive the film. When you 

opened the box and removed the film, it was in a cardboard folder inside the plastic/paper pouch. Place 

the film in the folder, one at a time as you unload it with the same orientation, notches on the right side. 

This will minimize any scratching of the emulsion. Put it back in the pouch, place the pouch in the 

smallest section of the box, then cover it with the medium section and finally place the large top on the 

box. You now have a light tight environment ready to ship the film for processing or doing it yourself. 

DON’T MIX DIFFERENT TYPES OF FILM IN THE BOX! Write on the box EXPOSED FILM, the type of 

film, and how many sheets are in the box. Once you’ve exposed more film and processed it, you will 

accumulate boxes. This is a good thing! 

Exposure 

Transparency film is best exposed for the highlights. It favors slight underexposure and black and white 

film for the shadows as it tolerates some overexposure. You want detail in the highlights with 

transparency film and detail in the shadows for black and white. I use the Zone system to establish the 

exposure I need when on location, especially for landscapes. 

Metering 

Accurate metering is very important; for example, Valvia 50 has only just over 4 stops of latitude. This is 

when using the Zone system is important. The Zone system is broken up into 10 zones where zone 0 is 

black without any detail and zone 10 is white with no detail. Zone 5 is the mid tone. Velvia is best 

exposed between zones 3 to 7 to capture as much detail as possible. Spot metering of the scene is 

important to ensure you capture as much information as the film will record. This necessitates metering 

all the areas in the image and averaging the exposure to stay within a 4 to 5 stop range. If you are using 

E6 film, C41 and black and white emulsions have wider latitude. 

For black and white, I like to use TMax or Ilford HP5+ (why didn’t they just label it HP6?) or HP4. All 

have excellent density and crisp blacks and whites. Black and white film is more forgiving and can be 

exposed with a 7 stop range. Zone system metering takes a little practice, but if you have a spot meter 

that can save the different readings, it will render an average exposure as a starting point. 

Exposure Factor (bellows extension) 

If you are photographing an object, perhaps in the studio at life size, (a magnification of x1) you will be 

extending the bellows and need to calculate the new f/stop required to get a correct exposure as light 

from the lens to the film plane needs to travel further (inverse square law). If you are using a 150mm 

lens, it will focus on infinity at 150mm. For close up work you might need to extend the bellows to twice 

that length, 300mm. First you will need to make sure your bellows can extend that length on the rail, 

most field cameras will only extend to just over 300mm. A rule of thumb is that bellows extension that is 

twice the focal length of the lens you are using will need an exposure increase of 2 stops. For the 

photographers who just love the mathematics the formula is {magnification +1}2. So 1+1=2, 2 squared 

(2x2) = 4. That will be the exposure factor. So if the meter calls for a 2 second exposure at f/16 the 

new exposure would be 2 seconds x4 (the exposure factor), 8 seconds, or a 2 f/stop increase if the 

depth of field is ok, f/5.6. 

Don’t worry; there is an app for that! Why are these calculations important? In the “good ole days?” 


that length, 300mm. First you will need to make sure your bellows can extend that length on the rail, most 

field cameras will only extend to just over 300mm. A rule of thumb is that bellows extension that is twice 

the focal length of the lens you are using will need an exposure increase of 2 stops. For the photographers 

who just love the mathematics the formula is {magnification +1}2. So 1+1=2, 2 squared (2x2) = 4. That will 

be the exposure factor. So if the meter calls for a 2 second exposure at f/16 the new exposure would be 2 

seconds x4 (the exposure factor), 8 seconds, or a 2 f/stop increase if the depth of field is ok, f/5.6. 

Demon Tree 

Don’t worry; there is an app for that! Why are these calculations important? In the “good old days” we 

had Polaorids to use to check the composition, sharpness and exposure before committing to using film. 

Alas, Polaroids is no longer available, so to ensure we don’t waste film it’s necessary to do the 

computations or use an app. There is a new “Polaroid” on the market, made by a new company. It’s called 

“NEW F/N 55”. The film is a positive/negative which you peel apart after the processing. I’ve watched a 

few videos on this film on You Tube and am not really impressed with the results; it probably needs some 

more developing (no pun intended). The film is not inexpensive either, about $15 a sheet! 

See the Fall 2021 issue to complete the article! 

20 


Splash! 

Ankor Wat, Cambodia 


A F F I L I A T E S H I G H L I G H T S 

CIPPA - Channel Islands Professional Photographers 

Larry Skibiski 

President 

www.cippa.org 

Michael Mercadante 

Vice President 

GCPPA - Gold Coast Professional Photographers 

Sandra Cortez Nancy Snyder 

President 


cortezphotography805@gmail.com 

IEPPV - Inland Empire Professional Photographers 

David Schulman 

President 

ieppv.com 

Kim Shapiro 


PPLAC - Professional Photographers of Los Angeles County 

Eleanor Gray 

President 

pplac.org 

John Powers 


PPWC - Professional Photographers of Wine Country 

Karna Roa. 

President 

ppwc-online.org 

Norah Burrows 


22 


PPOC - Professional Photographers of Orange County 

John Aranas 

President 

ppoc.org 

Ana Montgomery 

1st Vice President 

PPSDC - Professional Photographers of San Diego County 

Janet Bark 

President 

ppsdc.com 

Yaneck Wasiek 


PPSV - Professional Photographers of Sacramento Valley 

Suzanne Hambleton 

President 

ppsv.org 

Kimberly Olker 


PPSCV - Professional Photographers of Santa Clara Valley 

Roberto Gonzalez 

President 

John Gayler 


https://www.ppscv.net 



23

Photoshop Zero to Sixty 

Michael Collins, M. Photog., CR., CPP, M-PPC, 

S-PPC, BA-PPC, F-PPC 

Photoshop has 27 different layer blend modes available to change the color or luminance of the layers you are 

working on. They are broken down into 6 different groups (Normal, Darken, Lighten, Mid-tones, Contrast, 

Comparative and Composite Modes). Although each group of modes has anywhere from 2 to 7 different options/ 

modes, I will only talk about one or two in each group as those are the main ones I use. Although I am only touching 

on a few of these, please play with the others and see what they will do. 

The first group of Blend Modes are the “Normal” modes (the ones at the top above the first dividing line) that 

contain two blend modes: Normal, Dissolve 

Normal 

This is the default mode. Pixels don’t blend. Results are as expected – the contents of a layer are displayed without 

any blending. A photo will appear as the original or, if you paint with a color, the result color is the color that you 

chose. In other words, everything is normal. 

The second group of Blend Modes are the darken modes: (Darken, Multiply, Color Burn, Linear Burn and Darker 

Color) 

Multiply 

Looks at the color information in each channel and multiplies (darkens) the base color by the blend color. The result 

color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white 

leaves the color unchanged. When you’re painting with a color other than black or white, successive strokes with a 

painting tool produce progressively darker colors. The effect is similar to drawing on the image with multiple 

marking pens. 

The third group of Blend Modes are the lighter modes: 

(Lighten, Screen, Color Dodge, Linear Dodges and 

Lighter Color). 

Screen 

Looks at each channel’s color information and multiplies 

the inverse of the blend and base colors. The result color is 

always a lighter color. Screening with black leaves the 

color unchanged. Screening with white produces white. 

The effect is similar to projecting multiple photographic 

slides on top of each other. 

Multiply 

Screen 

24 


The fourth group of Blend Modes work with the mid-tones. They have a neutral color of 50% gray. (Overlay, Soft 

Light, Hard Light, Vivid Light and Linear Light). 

Overlay 

Multiplies or screens the colors, depending on the base color. Patterns or colors overlay the existing pixels while 

preserving the highlights and shadows of the base color. The base color is not replaced, but mixed with the blend 

color to reflect the lightness or darkness of the original color. 

Soft Light 

If the blend color (light source) is lighter than 50% gray, the pixels are lightened as if they were dodged. If the blend 

color is darker than 50% gray, the pixels are darkened as if they were burned in. Painting with pure black or white 

produces a distinctly darker or lighter area, but does not result in pure black or white. 

Soft Light 



25

26 


The fifth group of Blend Modes are “Comparative” and have a neutral color of black. This means that black as a 

blend color will have no effect on the result color. The Divide blend mode has a Neutral color of white. (They are 

Difference, Exclusion, Subtract and Divide) 

Difference 

Looks at the color information in each channel and subtracts either the blend color from the base color or the base 

color from the blend color, depending on which has the greater brightness value. Difference is great for comparing 

layers when doing head swap or eye swaps. By placing the layer you want to line up on top and changing it to the 

Difference mode, and have the layers lined up the result is a black layer. If the layers are not lined up you can see 

where the “difference” is in almost psychedelic colors. 

The sixth group of Blend Modes have no 

neutral colors. They work in a hue, saturation, 

luminance space. 

Color 

Creates a result color with the luminance of the 

base color and the hue and saturation of the 

blend color. This preserves the gray levels in 

the image and is useful for coloring 

monochrome images and for tinting color 

images. Said more simply you can change the 

color of what you are painting with without 

changing the luminance (light/dark). So you 

can keep shadows and highlights and change 

the color. This mode is great for painting black 

and white images. HOWEVER – you 

CANNOT paint on pure black or pure white 

even on a color image. 

Difference 

NOTE: 

Only the Normal, Dissolve, Darken, Multiply, Lighten, Linear Dodge (Add), Difference, Hue, Saturation, Color, 

Luminosity, Lighter Color, and Darker Color blending modes are available for 32bit images. 

Michael will be returning to teach a weeklong Photoshop - Zero to Sixty in a Week class at West Coast School, June 

5-10, 2022. You can sign up at http://www.westcoastschool.com. Students at ALL levels will learn in this class. Sign 

up today. 



27

Tokyo 

By John Powers 

The largest metropolis in the world is Tokyo, with over 37 million people contained within its boundaries. 

According to Wikipedia (“I read it on the internet so it must be true!”), that makes Tokyo the largest 

populous in the world! More people are amassed in this one area than anywhere else on earth with Dehli 

being a distant second with 28 million people. Okay, you didn’t come here to read a geography lesson. 

But you need to know this fact so that when I say that the photo opportunities in Tokyo are incredible, 

you understand that it is not an exaggeration! 

There are a myriad of books dedicated to Tokyo, chock full of wonderous photographs from all the iconic 

and traditional sites one comes to expect. So, I won’t bore you by displaying my copies of those images, 

too. What I would like to share are some of the sites that people normally don’t see, a behind-thescenes 

look at life in Tokyo. When the borders open up once again for travel (hopefully later in the year), if 

you make your way there, please keep these images in mind and create some photographs that will be 

both unique and personal for you. Here are just a few suggestions: 

Sunday afternoons I love to go to Yoyogi Park in downtown Tokyo. Around 2 PM every Sunday (it’s like 

clockwork!), anywhere from half a dozen to a dozen young “rockabillies” gather to dance to the sound of 

50s rock and roll. They are attired in their black leather jackets and jeans, pompadour hairdos, and a 

swagger right out of Marlon Brando’s “The Wild Ones.” They look tough, they look mean, but they are 

truly kind and polite. They don’t mind you taking their photos as they dance, just don’t invade their 

space. Be respectful. And I can guarantee, you will get some amazing photos that you just won’t see 

anywhere else! I could do a whole series just on the images I have captured on those Sunday 

afternoons. 

28 

Nearby Yoyogi Park is 

Meiji Shrine, the largest 

and most venerated 

Shinto shrine in all of 

Tokyo. Be sure to stop 

by there any time on 

either Saturday or 

Sunday. It is the perfect 

place to photograph the 

processional of a Shinto 

wedding. You can get 

some great photos of 

Shinto brides in all their 

regalia and the wedding 

parties all dressed up 

for this special 

occasion. Again, keep 

a respectful distance 

but take all the photos 

you like. 

One of the rockabillies with an exaggerated pompadour hairdo. 


Above: Two of the rockabilies taking a break from their dancing. Below Left: Even a few of the young 

ladies don the attire of the rockabilities, certainly bringing a more glamorous look with it. 

Another venture: many people talk about it but few make their 

way to an actual sumo tournament. Go! The seating is 

cramped, the lighting is dark, but there are always strong lights 

above the dohyo (where the actual matches take place) so you 

can get some powerful photos. Yes, you are allowed to bring in 

your camera and take all the photos you want … but only from 

your seat. It’s not like a baseball game where you can get up, 

move to an aisle or move down closer for a shot. You must stay 

seated. But, with a telephoto lens and a wide or large aperture 

(f/2.8 in my case) you can get some great photos. I try to keep 

my ISO as low as possible but you can adjust it accordingly 

when you are there; remember, you need to be fast enough to 

capture the quick moves and sorry, no tripods allowed! 

John Powers, M.Photog., CPP 


Above: A Shinto bride contemplates as she 

waits for the wedding ceremony to begin. 

Right: A close up of a Shinto bride with the 

all-white hood called the wataboshi. 

Another venture: many people talk 

about it but few make their way to an 

actual sumo tournament. Go! The 

seating is cramped, the lighting is 

dark, but there are always strong 

lights above the dohyo (where the 

actual matches take place) so you 

can get some powerful photos. Yes, 

you are allowed to bring in your 

camera and take all the photos you 

want … but only from your seat. It’s 

not like a baseball game where you 

can get up, move to an aisle or move 

down closer for a shot. You must 

stay seated. But, with a telephoto 

lens and a wide or large aperture (f/ 

2.8 in my case) you can get some 

great photos. I try to keep my ISO 

as low as possible but you can 

adjust it accordingly when you are 

there; remember, you need to be fast 

enough to capture the quick moves 

and sorry, no tripods allowed! 

30 

Tokyo Sumo Ryoguku Kokugikan - Each sumo bout happens so quickly, on average lasting less than six seconds. Blink and you can miss it! 


I love randomly walking around various neighborhoods in the middle of the afternoon. I know, the sun is 

up high and this is normally not the best lighting when photographing outdoors. However, it is the prime 

time in capturing the children getting out of school and heading home. But it’s not just about 

photographing the children, but the uniforms they wear. That is its beauty and distinctiveness. But 

please be respectful. If there is a parent present, I always ask permission first to photograph their child, 

and most times they are happy for you to do it; it’s seen as an honor that you would like to highlight their 

child in such a manner. If there is no parent present, as is the case usually when the kids get out of 

school, then I photograph them from behind so that they retain their anonymity. 

Speaking of walking around randomly, you never know what you will come across on the streets of 

Tokyo. In Shibuya, where one of the busiest intersections in the world is laid out, you will run in to 

people from all over the world. Just a mile or two away is Harajuku where the anime fashions of the 

youth parade down the streets. Or, you may see Buddhist monks collecting alms nearby. Take the 

subways to get around and you will see so much more! The city is a kaleidoscope of unique styles, 

fashions, fads, and fancies! 

Be sure to dedicate a day to either Tokyo Disneyland or it’s neighboring DisneySea (another Disneybased 

theme park filled with other rides and adventures unique to Disney like Aladdin’s home town, the 

Little Mermaid’s life under the sea, etc.). Here some of the visitors like to dress up as their favorite 

characters, walking around the park and having a good time. All of them love to have their photos taken 

and unlike here in the USA, it is permitted to dress up in Disney characters so it’s a unique opportunity to 

capture some photos you won’t see at any of the other Disney resorts around the world. 

We just skimmed the surface of this multi-faceted city. Tokyo is one of the most unique places on the 

face of the earth, therefore, one of the most enticing locations to exercise your photographic skills and 

take some of the most compelling images possible all in one place! Now, get ready to get out there and 

take lots of photos! Sayonara! 

Four junior high students leave their Yasakuni school, heading to the subway and on their way home. 


West Coast 

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