An architectural photographer takes a walk through DisneySea at night with a shift lens in hand.
Hello, I'm Fujikawa, an architectural photographer who, before I knew it, has been a Disney geek (D-ota) for 10 years.
This time, I'd like to show you what happens when an architectural photographer shoots the night view of DisneySea with a shift lens.
I'll be sending this out for free until the end, so I hope you enjoy both the before-and-after of the RAW development and the little episodes!
For those meeting me for the first time, nice to meet you!
For those who always read my posts, hello! Good evening!
Hello, I'm architectural photographer Fujikawa.
On X, I am active under the account Architectural Photo Cat🐈. I mainly shoot completion photos of houses and shops, as well as real estate property photos, centered in the Kanto region.
The equipment used this time is all
Nikon Z7II + LAOWA 15mm F4.5R Zero-D Shift
Since tripods are prohibited inside the park, all shots are, of course, handheld.
Well then, let's get started right away.
Since there are many tall buildings, I am shooting by shifting upwards to reduce the proportion of the ground.
I feel like you're thinking, 'I didn't even know you liked Disney' or 'Who even are you?'
Hey, don't say you're not interested.
Believe it or not? Back when annual passports (annual passes) existed, I bought a common annual pass every year that allowed entry to both Disneyland and DisneySea, and I went to the parks all the time. (Currently, annual passes have been abolished.)
There was also a time when I had two single-park passes. A single-park pass is an annual pass designated for only one of either 'Land only' or 'Sea only'.
Having each 'single-park pass' is more expensive than buying a 'common' one, but single-park passes have a big advantage that only comes into play a few times a year. That is, when there is an entry restriction due to congestion in the park, you can break through that restriction and enter. With a common pass, you cannot enter during a restriction.
Even if I'm told such geeky information...
It's meaningless because the annual pass system itself doesn't exist anymore...
That's right, it's just me showing off my geekiness...
Slow shutter is good for architectural photography because people blur out.
But since it's handheld, I'm holding my breath while shooting. It's tough.
The reason I'm talking so much about Disney is because, truth be told, I learned the basics of cameras and photography at the park.
Yes, apparently I just wanted to take cute and beautiful pictures of Minnie (lol).
Since 2:3 felt stretched, I cropped it to 3:4 and further reduced the proportion of the ground.
In vertical composition, 2:3 is often too long.
Actually, my romance with my wife also started at Disney. We used to go to the park together almost every week.
To watch & shoot shows and parades, we would be there from morning until night all day long,
staying on the parade route (Land's parade route),
staying at Lido (Mediterranean Harbor's Lido Isle at Sea), taking pictures of the park scenery in our free time,
taking pictures of characters during greetings,
we were just taking all kinds of pictures.
Thinking about it now, I think this experience has been useful for various work shoots.
I shifted this one up too.
The street light on the bottom right bothers me, so I should have shifted to the left as well...
(I'll make the excuse that it was dark and I couldn't see it very well)
And so, when I was running a Disney photography blog as a hobby, one day I received an offer to appear on TV as a Disney photographer. I appeared in a segment of a Disney special on the program 'Uwasa no Okyakusama' hosted by Sandwichman.
I introduced and practiced how to take photogenic commemorative photos by skillfully incorporating attractions, scenery, and people at Disneyland.
Slow shutter speeds are great (while fighting camera shake)
Well, that's how much I love Disney. Did that come across?
However, even though I visit the park this often, I have never seen anyone else shooting landscapes with a tilt-shift lens.
That makes sense, I suppose.
After all, not everyone is here to photograph architecture.
So, the content of this article is: wouldn't it be interesting if a photographer who shoots architecture for a living took pictures of the park with a tilt-shift lens?
The street lamp in the upper right isn't quite right here either, but
if I step back a little, it doesn't feel quite right either, so I compromised with this.
I usually listen to the ARIA soundtrack when I come here (a luxury).
I love how deserted it is behind Zambini's.
There's a ghost in the bottom left, but its small size and lack of color are phenomenal.
This is one of my favorite spaces in all of DisneySea.
I'm sure many people will understand, haha.
The balance felt a bit off even after shifting, so I cropped it to a cinematic aspect ratio.
Since it was right before the show, it's a shame that the lighting equipment is visible above the building, but
this is the boundary between dreams and reality, haha.
Introduction to the equipment used this time
*These are Amazon affiliate links.
Architectural photography doesn't necessarily result in eccentric finishes, but
I hope I managed to convey at least some of the fun, right?
I plan to introduce some park photos with a more 'Instagrammable' finish that goes beyond the scope of architectural photography soon.
So, that's it for this time.
I will continue to share a wide range of content, from short columns and articles for beginners to professional articles as an architectural photographer, so please be sure to follow and like!
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Thank you for reading until the end this time as well!
To all the members, your support is always encouraging! Thank you.
See you in the next article!
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