It was back in May 2011 when Mr. K of Yodobashi Camera came all the way to Seattle to conduct an interview with me for an article "Rangefinder People." We interacted closely with each other by going out to shoot streets, sharing meals, and talking about life philosophy. It was certainly a memorable few days.

During his stay, Mr. K asked me if I was interested in having my own section dedicated to photo essays of Seattle for an online magazine "Photo Yodobashi" as an extension of my blog (Shot&Shot. I refused because I thought the required quality for a public magazine of photography was different from my blog like a personal memorandum. But, he said I could try for several times at my own pace. I accepted his offer and published the Vol.01 on June 16, 2011. Back then, I had never thought I that would be continuing it to Vol.50.

Even though "The Wind from Seattle" isn’t a work of a professional, Mr. K kindly let me continue it without pushing me and I was able to enjoy it as if it were a part of my everyday life. I greatly appreciate his support.

I was thinking that the Vol.50 would be the last volume of "The Wind from Seattle" for several months. When I consulted with Mr. K about it when I visited Tokyo the other day, he agreed. The main reason is a change in my shooting style. I used to shoot when my imagination responds to a signal from the subject, but I’ve been searching for subjects in relation to a certain theme these days. In other words, my recent intention of "imaging" runs contrary to "the intuitive desire of shooting." The 550 photographs and captions for "The Wind from Seattle" remind me of the pure and earnest feeling I used to have. I don’t ask myself to become skillful or improve. I want to regain the spirit I started with.

Although I wonder if some of my photos and essays were weak and boring, I hope readers had enjoyed a "wind" different from the one in Japan.

Some volumes were particularly unforgettable. For example, I had worried about the quality of the Vol.01. The Vol.05 was about my 2-night driving.The Vol.13 was about an interesting association between the Art of War by Tzu Sun and secrets of photography. The Vol.15 was about the Leica Akademie Workshop. The Vol.17 was about the Columbia River. The Vol.18 was about "Laura" who is still imprinted on my heart. The Vol.19 was about my interest in still-life paintings. The Vol.25 was about my photo exhibition. And, the Vol.47 was about my thoughts on 4-dimension images. As for Tzu Sun and 4-dimation images, I would like to study them more and write a book about them if I have a chance.

Incidentally, I’ve been married for 50 years. I thank my wife with my whole heart because she has been with this man with ups and downs changing everything including jobs. In this regard, I hope to continue after "Vol.50." Does "50" mean something special? To tell the truth, I’m secretly wondering if I could publish a photo book "The Wind from Seattle" and give it to her in commemoration of 50 years. Of course, I need to know how to organize, edit, and make a budget to publish a book. So, I may need help from Yodobashi Camera again.

I started selecting shots from the photos included in the past volumes and I ended up in picking only the ones shot with Thambar.

My very favorite one is this shot of a mother and her daughter embraced by the yellow shine. And, it was most popular in the exhibition.

Nature is beautiful in all seasons in their own ways. Because it rains a lot in autumn in Seattle, it rarely gets sunny. But when it’s sunny, the view becomes crystal clear as if the fog were wiped away because the dust was sank by the rain and the air becomes transparent.

I was fascinated with the Thambar 90mm lens made in 1935 because of this soft 3D rendition. Even though blurring increases as I open up the aperture, the core still remains in the bokeh.

I posted this image to my blog with a title "Weekend comes with the sound of rain." It was also introduced in "Rangefinder People" article. Although the shooting condition wasn’t good due to the rain, I achieved the fine focus lines by stopping down slightly.

This one was in the Vol.01. Sensing someone's glance in front of this gallery on Platanus Street, I found one woman gazing at me from behind. I felt as if I met my old girlfriend, or she overlapped someone in a movie I watched in the past. Anyway, I was a bit confused by this mysterious air and we looked at each other for a while. And, I tried to calm down and aimed my camera at her.

I enjoyed seasonal changes on the familiar Platanus Street.

Autumn leaves change colors slowly and partially, so they look like oil paintings that are being drawn just in front of me. Sound of leaves blown by the wind changes from soft to dry tones, and that’s when the small curved leaves depart from the branch hurriedly like a cloud of little birds.

It’s easy to capture the very moment with a 90mm because it lets me shoot from a good distance.

It was the moment when a wild fawn and Thambar looked at each other curiously.

The ocean started to darken and roll under the thick clouds. Then, it suddenly became silver probably because the splash was being carried by the wind. At that moment, pelicans came flying in lines and dived into the water between the waves as if they were dancing. I don't know if they are doing some sport activities, or if they are hunting for small fish, but it's amazing that they keep the line. Although my camera and lens got wet with the splash, I couldn't move my eye from the viewfinder. I shivered because of their professional performance and the dynamic sound of rough waves. Then my adrenaline seemed to be ejected and my emotional excitement reached to its climax just like the grand finale of a symphony.

In the advanced stage of fall, I see more autumn leaves of the boulevard trees. It was a chilly morning and people seemed to be walking somewhat faster. Even though I'm not present in this snapshot, I do exist in this shot because I share the time and space, standing on the photographer's side, feeling the coldness of the wind, and enjoying the beginning of autumn leaves.

I've been shooting streets for a long time, but I only believed they were merely two-dimensional images of "other people." But, I exist there shooting with an intention. So, if I take a three-dimensional perspective, I should be included in the images. Besides, it also includes "time" as the moment captured. Then, if I employ the idea of "Minkowski space," an image I shoot can be a four-dimensional image to me.

And, the Vol.50 can’t go without this image of Nina shot with the Elmar 65mm F3.5. On the night of the day I left for Japan last month, she went further away from me. I was so shocked when I knew about it after arriving at Narita and couldn’t imagine my life without her back in Seattle. On the streets, in the woods, in the bed… she was always with me. Maybe she is leaping in my photos now.

I hope to see you again someday, somewhere. Thank you so much for your support for 5 long years.

Finally, let me express my sincere appreciation to Mr. F of Yodobashi Camera, Mr. K who always helped organizing, Messrs. I, N, and M who edited, Mr. N who translated them into English, and other staff who have been involved in this project.