歴史

HISTORY #2

Work with MTSUYA FOODS

松屋フーズの仕事

I have been with Matsuya Foods for nearly 20 years.

I have been with Matsuya Foods for nearly 20 years.

Matsuya's main target was young people who worked hard, but in order to expand the market, they used branding posters to send out various messages such as suburban stores for families, take-out of lunch boxes, food safety, etc. , A project that has never been seen in fast food stores until now.

The director, the writer, and the photographer (I) formed a team, visited the factory, several Matsuya stores, came up with ideas, worked out plans, and made posters.

By meeting many Matsuya Foods employees through this work, we can feel a positive, cheerful, corporate culture that values people-to-people relationships, and the mood is reflected in the poster to create a unique taste. I think that.

This is also the best part of advertising production, which is one of the reasons why it seems good to do this job.

の

松屋フーズとも20年近くのお付き合いです。

松屋のメインターゲットは働き盛りの若い人たちでしたが、マーケットを拡げるために、ブランディングポスターを使って、ファミリー向けの郊外店舗や、お弁当の持ち帰り、

食の安全など、様々なメッセージを発信し、企業の姿勢をお客様に伝えるという、今までファストフードの店舗ではほとんど見られなかったような、企画で、

ディレクター、ライター、フォトグラファー(私)の３人がチームを組み、松屋の店舗を何件もロケハンし、工場の見学をしながら、アイデアを出しあい、プランを練って、

ポスターの制作にあたりました。

私たちはこの仕事を通じて多くの松屋フーズの社員と会うことによって、前向きで、明るく、人と人との関係を重んじる社風を感じ取ることができ、そのムードが

ポスターに反映して独特のテイストを生んだのだと思います。

これも広告制作の醍醐味で、この仕事をやってて良かった思える理由の一です。

Work with SKI journal

スキージャーナルの仕事

One day, I was invited by an acquaintance, went to the ski journal editorial department, received a business card of the editor of the separate volume,
and excited about three hours of car talk, and after all I should ride a convertible once before death In the conclusion in a strong nod.
a word that was said just before back home.

"Yano-san, can you go to Canada?"

These words changed my life.
I couldn't ski almost.and I just talked about the car, and I just met, and there should have been a lot of reasons to be confused,
but I was smiling and shaking hands with the editor-in-chief.

Shooting place in Canada ws a Blackcomb ski resort on the outskirts of Vancouver, where a location team enters immediately after the ski season is over, and snow vehicles bring us where we want.
Models were selected in a two-day audition in Vancouver and players from the Canadian and American national teams.
After the air was blown away with a futon storage bag,150 of skiwear, brought from Japan, and we took these photo taken by two weeks.

On the first day, we went to the top of the altitude of 2284m in order to get out of the clouds. After the end of shooting, the models and the staff wear a ski board,

"Let's meet at the foot of the mountain！,iiiii〜harrrrr！！"

There is no one in no time, and a quiet snow scene just spreads.
The place I chose to shoot was an off-piste slope that was far from the slopes, where it wasn't compressed, and if I didn't wear a ski,

it would be covered with soft snow to the waist. during shooting Lay the stepladder on snow and walk on it.

Raise my waist, for the time being

"iiiii〜harrrrr！！"

I screamed, and when I turned my body toward the valley, I plunged into the snow from my head.
It was good that Canada's dusk was late.
When the city lights start to flash, I finally returned to a flat place.

when I had look closely, staff models gather and send a big cheer to me,with one hand of beer.

"Bravo! Yano! Fantastic skiing!"

The relationship with the ski journal lasted for about 7 years, and for me the ski resort became the second home ground.
Of course, the first is a photography studio.

ある日、知り合いに誘われて、遊びに行ったスキージャーナル編集部、別冊編集長の名刺をもらい、３時間近く車の話で盛り上がり、やはり死ぬまでに一度はコンバーティブル

に乗るべきだとの結論に、強くうなずき合ったところで帰りぎわに言われた一言。

”やのさん、カナダいきませんか？”

この言葉が僕の人生を変えたのです。

ただクルマの話をしただけなのに、スキーなんてほとんどできないのに、まだ会ったばかりなのに、躊躇する理由はたくさんあったはずなのに、

僕はしっかり笑顔で編集長と握手を交わしていたのでした。

カナダロケは、バンクーバー郊外のブラッコムスキー場、スキーシーズンが終わった直後にロケ隊が入り、雪上車で好きなところに運んでもらいます。

モデルはバンクーバーで２日間のオーディションで選ばれたモデルたちと、カナダ、アメリカのナショナルチームの選手たち。

布団収納用のエアぬきバックでぺしゃんこにされて日本から運ばれた、150体のスキーウェアを２週間かけて撮影します。

初日は雲を抜けるために標高2284mの頂上近くに一気に上がり、クッキーの間の蓋に描かれた絵のような周囲の山々を眺めながらの撮影、

終了後、モデルもスタッフもめいめいスキー板を装着、

"下で会おう！イィハ〜！"

あっという間に誰もいなくなり、静謐な雪景色が広がるばかり。

僕が撮影場所に選んだのは、ゲレンデから遠く外れた、オフピステと呼ばれる圧雪していない斜面で、スキー板を履いていないと柔らかい雪に腰ぐらいまで埋まってしまう

ような場所、撮影中は雪の上に脚立を寝かせてその上を歩く。

腰を上げ、とりあえず

”イィハ〜〜！！"

叫んでみた、もうどうにでもなれと体を谷の方へ向けた途端、頭から雪の中へ、

カナダの夕暮れが遅くて良かった。

麓の灯りがともりだした頃、ようやく平らなところに戻ることができました。

よく見ると、スタッフモデルが集まって、ビール片手に大声援を送っています。

"ブラボー！ヤノ！ファンタスティックスキー！”

スキージャーナルとのお付き合いは、その後７年ほど続き、僕にとってスキー場は第２のホームグラウンドになりました。

もちろん第１は撮影スタジオです。

Work with SUMO

大相撲の仕事

The world of sumo wrestling has been quite different for me, I had worked for many years in advertising.
Our team is a calendar team, and we get the pass of the Sumo Association Public Relations Department.
All other photographers are members of the press and belong to the reporter club. The order is maintained by protecting the order and seniority of the seniors there.

The calendar team enters the Kokugikan once a year in May, so it's an irregular presence, and advertising photographers use a lot of equipment,
so I think it was quite annoying for them.

When we put several high-powered Photo flash-lights from the second-floor seats, NHK gets angry when the video is disturbed.
And the other time I put the a huge tripod on passage of Hanamichi, then Konishiki, which was then Ozeki, can't pass through there, NHKTV broadcasted that.
The Tokyo Fire Department got angry because blocked emagency aisle, I had went to apologize to them.

I was aiming for a powerful photograph by shooting with a huge telephoto lens, but in the presence of start fighting, the wrestler disappears from the lens in an instant.
So, to predict their movement, I recorded a sumo broadcast, and watched the sumo wrestling over and over again.
Place my index finger over the wrestler on the TV screen and trace the movement.as continue this process, I had be able to follow the movement of wrestlers in the viewfinder.

THe pictures filled with a lot of lively movement are touching, but it is hard to recognize who's face. So the calendar uses a photo with static.
Sumo fans like bromide pictures.

In this way, while continuing to make a futile effort and continuing to shoot the sumo calendar, I became addicted to the appeal of sumo.

A particularly impressive presence is Yokozuna Takanohana.
Takanohana's eyes standing on the edge of sumo ring with salt pass through the audience seats and are clear as if you are watching the sumo god who will be far away,

and the cheer of the audience disappears his body was wrapped up in silence.
At the moment when wrestlers begin to fight, attacking the opponent with a rush of gust and rush, taking no steps back and winning in an instant.

On one occasion I had told that to YokozunaTakanohana of the active era,in conversation,

“Athletes never feel relax in their normal life either, I think”

Yokozuna said

“Yanosan, sumo is not a sport.”

"What is it?"

"... I think it is a road"

"... is it the road"

For him, the fight was to expose himself before God.

For me, taking a picture means transferring emotions to the subject, and when the wave of emotions looks the highest, it is a photo opportunity.