Takahito Mizutani

What I emphasize in the expression of my works is color, shading and the feeling of being there. Even at sports events, colorful uniforms and shoes are gradually gaining popularity, and various colors fill the venues, including colorful signs and cheering goods held by spectators. The key is how you work with those colors. Do you use them? Do you remove them?

There are some shots that are saved by color and others where colors ruin the work. In this day and age, all the latest cameras have come to offer high pixel count, high sensitivity and high resolution. Color gradations that could not be expressed before can now be reproduced, too. In my works, I want to emphasize more and express these rich colors.

Light and shadows are what make a photograph. The one who controls light and shadows also controls the photograph. I have held this stance all along: when I was in school studying with a focus on monochrome photographs, when I was still a novice using positive film, and even today in the golden age of digital photographs. When I’m shooting photographs at a sports event, the first thing I do is check the condition of the light. I think about how long it will take for the light to change, where the shadows will appear and various things like that. I tend to choose side light over front light and backlight over side light. I feel that the lines of athletes’ musculature that appear with backlight are the epitome of beauty. I want to pursue what I most want to express using light and shadow.

I think sports photographs are most often close-ups. Of course, I also take close-up shots to depict athletes and events. However, there are some shots you can only get on site. If the event is outdoors, there might be rain or snow. I think it’s also good to take medium long and wide angle shots in various conditions. I don’t like taking many shots in the same place, either, so I move around for various angles and compositions. I don’t have any desire whatsoever to take the same shots as other photographers. I want to be greedy in always pursuing lifelikeness in my works.

I’d sum it up by saying it makes it fun to look at photographs! It's been nearly 15 years since I first starting using ColorEdge monitors. As the camera I used to mainly take sports photographs was more than 10 million pixels, detailed image processing was required. I felt limits with laptop computer monitors and the monitors I was using at the time, so I chose ColorEdge. I remember my heart leaping within me the first time I saw one of my photographs on a ColorEdge monitor.

I had been using a 2K ColorEdge monitor for some time, but recently upgraded my camera to one equipped with a 50-megapixel image sensor. As a result, my work now requires much more precise image processing. I saw the need for a 4K monitor and, given ColorEdge's strong reputation, decided to go with the CS2740.

Right from the start, I could feel the difference compared to my previous ColorEdge model. The color reproduction is more refined and vibrant, and the monitor faithfully displays high-resolution images down to the smallest details. I’m truly thrilled to have found a monitor that helps me capture the expressive and highly detailed moments in sports that I aim for.

Setting up the monitor was really simple with just a single cable connection. Calibration is quick and easy using EIZO’s dedicated software, ColorNavigator 7, along with the optional EX5 calibration sensor. I really appreciate how stress-free the whole setup process is.

Developing a strong awareness of accurate color representation can significantly enhance the quality of photographic work. The monitor used for final image review is just as important as the camera and lens. Valuing personal style and originality, and pursuing perfection down to the smallest detail, are essential. I look forward to seeing truly original work that hasn't been seen before.