Photo Contest Past Award Winning Works

Luke Ozawa
Terminal 3 (formerly International Terminal), which symbolizes the winter at Haneda Airport. Of the many applications received this time, this work was the only scene in which the rising sun illuminates only the summit. Moreover, Hikoki is pushing back at this exquisite timing. This was good. If it was parked, it would be a Observation Deck but I thought that this timing would be difficult, so I chose this work from among many works.

Charlie Furusho
There are times when it is quite difficult to timing the sky gradation is very beautiful, the snow may be different on Mt.Fuji every year even in the same winter, or a crane for construction may enter. I think the work was taken at the right time. One piece of advice is that the contrast is raised and the picture is crisp, but the shadows are a bit dark, so if you raise the shadows slightly, I think that the finish will be even more beautiful.

Luke Ozawa
Makino is familiar with the characteristics of lenses. I often go to the Observation Deck of Terminal Terminal 3 (formerly International Terminal), which is open 24 hours a day, but I didn't have any idea to shoot such a scene with a diagonal fisheye lens. This type of lens tends to distort the Hikiki, but this work shows the body in a normal way, curving only the roof part in front, but also firmly holding down the four corners. And when the rising sun rises from the back, it shines on the roof at the right time.

Charlie Furusho
Shooting in the morning at Haneda Airport is difficult, but diagonal fisheye lenses have been used successfully. The color tone has a shadow and the gradation on the sky is beautiful, so the image processing is well done. Also, because of the wide-angle lens, it is a wonderful work that does not make you feel the atmosphere even though the surrounding objects are easy to see.

Luke Ozawa
This is a place where you wouldn't normally shoot at this place if you were a Hikoki photographer. Hikoki is moving from right to left in silhouette, but do not dare to shoot this aircraft into the sun, put the torii in front and adjust the pins, the Hikoki does not pin, I think that is wonderful. This is one of a chance because the sun will rise when the next Hikoki falls.

Charlie Furusho
I also got off at Tenkubashi Station and in the morning aimed at a landing aircraft from the riverside, but I could not think of this picture. It is a nice idea that the aircraft just descends on this symmetry composition. And since the sun goes off depending on the season, I think it is a miraculous piece. The morning sun rising on the Boso Peninsula side is a difficult scene with lots of clouds, so I think that I can not take it unless I go to this place considerably. This is one of the many photos I'm sure will win.

Luke Ozawa
I have also released a work shot from the same place, but it is a scene that can only be taken in winter. If you look closely at this work, the fuselage is the JAL A350, which is now a topic. It's a wonderful work where the sun rises and the building begins to shine, but the Tokyo Tower lighting remains.

Charlie Furusho
I've shot this scene, but I have to use a super-telephoto lens, and it's really cold and windy. And a harsh environment where you can fight strong winds alone. It is one piece that conveys the pain of shooting.

Luke Ozawa
This is a very pleasant photo, and it is quite a few days in a year to see such a blue sky and cumulonimbus in Haneda. B737 goes up in such a landscape, and all the gears are stored. The balance between the control tower on the left and the cumulonimbus is good, capturing an exquisite scene.

Charlie Furusho
The control tower's brightness and shadows are clearly visible and the clouds stand out. It is difficult to take seasonal photos in Haneda, but the blue is missing, the position of the aircraft is perfect, and the gradation of the clouds is well expressed and it is a highly evaluated work.

Luke Ozawa
Tokyo Sky Tree® and Hikoki are typical scenes of Haneda Airport, but scenes that are likely to be shot in the evening hours are not included in this angle of view. Hikoki taking off doesn't always pass through here, so I think the scene was taken because it was sticky.

Charlie Furusho
The location of the shooting of Tokyo Sky Tree® and Hikoki is important, and I think it is a perfect fit even in an environment where lighting is easy to enter in front. The B777's fuselage size and the way it hits the sidelights are indispensable.

Luke Ozawa
A scene of Seongnam Island where the green is beautiful. The clouds in the sky also played a role, and I thought that the air flowing down there was not a pure blue sky, but the air flowing down there was giving the atmosphere like a postcard.

Charlie Furusho
One piece that symbolizes the international flights of Haneda Airport in the future. People tend to get around when shooting on Seongnam Island, but I thought the Delta's fuselage and its logo on the belly were good points.

Luke Ozawa
There were some submissions for "FLIGHT DECK TOKYO", but Watanabe-san's monotone work was the most dramatic and caught my eye like a movie scene. I was attracted to a story-like work in which a couple stared at Hikoki.

Charlie Furusho
I think the work is a good balance between the overall color tone and couple, and the arrangement of the letters "DECK" on the glass. It was a characteristic work among the works of the same spot.

Luke Ozawa
If you have a very bold aim and this cloud and this blue sky, I think you usually shoot on the Observation Deck, not from this place. However, I think this work is a wonderful work that chose this place, put in the terminal, probably did not even hear the engine sound of this aircraft taking off, listening to the radio, the moment you do not know where to go .

Charlie Furusho
From the point that I dare to cut the aperture at f / 13, I feel the intention to focus firmly from the front to the back. The reflection of the Nikko that hits the terminal is also a point, and it makes me imagine how many miscuts there were, considering how long it takes to take this one and the balance with the cumulonimbus that disappears quickly. it is a photo.

Luke Ozawa
The moment when the sun rises during the time when the Haneda Airport logo is still lit is captured. It is quite difficult to shoot such a scene. On the other hand, "I'm going to take a picture, I can't." I chose it this time by putting it in one sheet. This gradation of Asahi is difficult because it does not easily appear, and it is a wonderful work.

Charlie Furusho
Shooting the morning sun at Haneda Airport is a difficult place with lots of clouds and sunshine, so it is taken in May anyway in winter, so it is quite early in the shooting place Terminal 3 (former international terminal) ) At Observation Deck, and the hardship of using a super telephoto lens. There is no cloud, and the beautiful gradation between yellow and red is not a scene that can be easily met.

Luke Ozawa
This “Humming Bird Departure” (which can be shot with Mt. Fuji in the background) has now become a historic scene. I often went to Terminal 1 Observation Deck to capture this moment. The condition is morning of north wind operation, only a few flights. Catch it at a good time, and I think the balance between the airborne (takeoff) aircraft and the characters of Mt. Fuji and the terminal is wonderful.

Charlie Furusho
The aircraft is no longer visible, the ANA B787 logo machine. Due to the weight of the fuselage, despite the scene where you are worried about shooting from the left or right side of the Observation Deck of Terminal 1 where the shooting is taking place, the characters on the exterior of the terminal are also firmly reflected, and the snow condition of Mt.Fuji is a perfect piece I think.

Luke Ozawa
JAL's jumbo (arc) and the current Terminal 3 (former international terminal) are not yet constructed. Before the construction, such scenery was taken as a matter of course, but over time, I think that it will remain as a historical record.

Charlie Furusho
The scenery I took many times in the past, but now it is a memorable cut, not only before the construction of Terminal Terminal 3 (former international terminal) but also the aircraft is JAL's B747-400D. I feel the history of this retired aircraft. It is an era when camera performance is not as good as it is now, but the exposure and composition are good.

Luke Ozawa
Scenery of the last day of ANA's Jumbo (B747). I was on the Observation Deck that day. At that time, the desire to shoot only the aircraft was suppressed, and the dare to catch the fans from behind was a work that was remembered as a historical moment.

Charlie Furusho
It is a well-balanced work. Just when the ANA mark appeared, I thought that the head of the B747 was not hung on the head of the person, and that he also captured the situation of the fans taking videos and smartphones.

Luke Ozawa
Speaking of full moon and hikoki, I think it is the scene you are aiming for nationwide. It is difficult to entangle the moon and the airplane, but Haneda Airport has four runways, so I think there are many opportunities. This work, which I caught from behind, among the works of the months, was very fresh.

Charlie Furusho
One piece that symbolizes the current Haneda Airport. This is a scene that cannot be taken even if you want to take a shot. JAL, Soraside Air, and Star Flyer are all in the same direction, and international ANA is parked in the back. A gorgeous scenery like Haneda that covers both domestic and international flights. The grass is blue and green shines during summer photography, and it is a very pleasant photo.

Luke Ozawa
Although there was no sharpness in the photograph, the lack of sharpness was very impressive because it was a “cut picture”. I think that the aircraft was caught at this position as a result of pulling off the takeoff with the B747-8. I think it is a very well-balanced work.

Charlie Furusho
I thought the expression of the contrast was interesting, such as the feeling that the orange tone on the left remained slightly. It can also be appreciated that the atmosphere of the sea in front can be expressed without blackening.

Luke Ozawa
Fuji shot that you can see everyday in the morning in winter. I just thought that JAL's One World Paint pushed back two aircraft and the side-by-side timing was wonderful. I think the aim is good.

Charlie Furusho
Fuji and JAL's two-world paintings are well-balanced, and the colors and exposure are beautiful without any problems. I think it would have been even better if I had a little more time to spare.