The impulse to take a photograph does not always begin with a momentous event or an extraordinary subject. It may begin with a flash of red that catches your eye, the blue of a rainy day, the green of sunlight filtering through leaves, the white lingering on a wall, or the violet mingling with evening shadows. Before naming what we see, we sometimes simply think, “I love this color,” and press the shutter.
Such photographs reveal what has stirred our gaze. Color need not be the subject itself; it can be the very impulse behind making a photograph. More important than what was photographed is why it caught your attention. As a point of departure, a “favorite color” offers remarkable freedom.

Red, blue, green, white, and the hues held within shadows: by following the colors that attract us, we begin to recognize a distinctive way of seeing in our choice of subjects, compositions, and even editing decisions. Taking color as our starting point, we explore the emotions and movements of memory held within photography.

Color Can Be a Reason to Make a Photograph

In signs, flowers, neon lights, and sunsets, red lends a subtle warmth to a photograph. Even in the smallest measure, it draws the eye and creates the beginning of a narrative within a quiet landscape. Blue, by contrast, is a color that envelops the atmosphere rather than the subject. Whether found by a window on an overcast day, in rain-streaked glass, or across a seaside town at dusk, it preserves the humidity and memories of the day within the photograph.

Green eases the tension within the frame and allows the gaze to move at an unhurried pace. Street trees, patches of grass, and forest shadows may serve as backgrounds, yet they also shape the rhythm of a photograph. White is not an absence of color, but a hue that receives the intensity of light and the presence of stillness. In snow, walls, shirts, and curtains, subtle traces of texture create breathing room and depth within the image.

The Character of a Place Lingers in the Colors of Its Shadows

Shadows are not simply black; they hold the colors of their surroundings. Evening shadows lean toward blue-violet, urban shadows mingle with neon reds and greens, and forest shadows take on deep green tones. At times, the distinctive color of a place emerges more vividly in its shadows than in the light itself.

When searching for a “favorite color,” look beyond brightly lit areas to the edges of walls, the ground beneath your feet, gaps between buildings, the shade of trees, and nighttime alleyways. There, you may find colors that are understated yet closely attuned to your own sensibility. Photographing the hues within shadows may be less about heightening visual impact than about gathering the traces of a presence that remains.

Collecting Colors Is a Way of Gathering Your Own Gaze

When you bring together photographs around a single color, your own visual tendencies begin to emerge. Perhaps you find yourself photographing blue again and again. Perhaps red draws you not in signs, but in flowers. Perhaps white feels more compelling on a wall than in light itself. These subtle inclinations are not shortcomings; they are expressions of an individual way of seeing.

Pause and consider: “So this is the color I loved.” A photograph then ceases to be merely an object of evaluation and becomes a clue to understanding your own sensibility. The colors you love already exist in the world; all that remains is to notice them. When time spent walking with a camera or smartphone becomes time devoted to discovering color, familiar scenes may begin to appear just a little richer.

photo poster project

photo poster project is a photo poster exhibition you can join simply by choosing a city and date.

The project we call ppp is more than just a photography exhibition. It is a community where anyone can share their story with confidence, as well as an opportunity to connect with creators from around the world in person.

In this report, we share highlights from photo poster project, held at gallery metabo ROOM 106 in Kyoto on Saturday, July 18. Essential reading for anyone interested in taking part in an upcoming photo poster project exhibition elsewhere in Japan!

What Is photo poster project?

Opportunities to exhibit your work or connect with other photographers can be difficult to find. Organizing a photography exhibition independently also demands considerable time and expense.

photo poster project, organized by cizucu, was created to address these challenges.
Simply choose a place and date, then submit your photograph to cizucu to have your work exhibited as a large-format A2 print. With many photographers from the same area taking part, you may also meet future friends and creative collaborators.

There is no need to deal with time-consuming preparations such as renting an exhibition space, finding a printer, or installing the show. Simply complete the form and attend the exhibition in person!

Highlights from the Day

「写真を撮られると魂を奪われる」という言い伝えは、世界各地に残る有名な都市伝説のひとつです。現代では迷信として語られることがほとんどですが、カメラが誕生した19世紀には、写真を恐れる人々が実際に存在しました。

今回は、その起源や文化的背景、世界各地に残る伝承、そして現代にも続く「写真が持つ不思議な力」について探ります。

なぜ「写真は魂を奪う」と信じられたのか

写真技術が誕生した19世紀、多くの人々にとってカメラは未知の存在でした。一瞬の姿を紙の上に写し取り、半永久的に残せる技術は、まるで魔法のように映ったのです。

世界各地には古くから「姿を写したものには本人の力が宿る」という考え方があり、肖像画や鏡、人形なども特別な意味を持っていました。

そのため、新たに登場した写真も「魂の一部を閉じ込めるもの」と受け止められ、「写真を撮られると魂を奪われる」という伝承が生まれたと考えられています。

世界各地に残る"肖像の呪い"伝説

この言い伝えは特定の国だけではなく、アメリカ先住民の一部やオーストラリア先住民、アフリカやアジアの民族社会などでも語られてきました。

ただし、「すべての民族がそう信じていた」というわけではなく、文化や時代によって考え方は大きく異なります。多くの場合、写真そのものを恐れていたというよりも、外部から持ち込まれた新しい技術への警戒心や、自分の姿を他者に所有されることへの不安が背景にありました。

そのため、「魂を奪う」という表現は、人々の畏怖を象徴する比喩として語り継がれてきた面もあります。

現代でも写真は特別な存在なのか

もちろん、写真が本当に魂を奪うわけではありません。しかし、私たちは今でも遺影を大切に飾り、大切な人の写真を見返して思い出に浸るように、写真に写る姿へ特別な意味を見出しています。

写真にまつわる「肖像の呪い」という言い伝えは超自然現象ではなく、人間が肖像に宿る力を信じてきた歴史が生んだ文化的な物語といえるでしょう。

カメラは魂を奪うことはなくても、人の心を動かし、時代を超えて記憶を残す力を持っているのは確かです。

cizucu hosts the photo poster project in cities around the world.
By simply choosing a city and date, creators can join a physical photo poster exhibition—and meet fellow creatives in real life.

In this issue, we spoke with Kei Wee, who participated in the photo poster project, about how a single photograph of shadows became a graduation memory, and how sharing the story behind an image opened up new conversations.

Could you introduce yourself?

Hi, I’m Kei Wee. I’m an 11-year-old student, and I recently started taking photos with my own compact camera.

Growing up, I watched my father use many different cameras and review them. Seeing him enjoy photography sparked my interest, and that slowly made me want to try taking photos myself.

Why did you decide to participate?

One reason I decided to join was because I saw my father, Keith, share his own photo at photo poster project.

Later, the cizucu team also invited me to participate, which encouraged me to give it a try.

I wanted to share the story behind the photos I took—not just show the image itself, but also talk about why I took it and what kind of memory it holds.

How was the experience?

It was a really fun and interesting experience.

What stood out to me most was being able to make new friends and talk with other creators about photography.

It was not only a chance to talk about my own photo, but also a great opportunity to see other people’s work and learn how they think about photography.

Why did you choose this photograph?

I chose this photograph because it is a we-fie of my closest friends and me.

Since we are graduating this year, it has become one of our favorite and most important photos. Instead of taking a usual group photo, we decided to photograph our shadows.

Even though our faces are not shown, I feel that the photo still carries the time we spent together and the friendship between us.

A message to those considering joining photo poster project

photo poster project is a really interesting experience.

If you are interested in photography, I think you should try it at least once. By talking about your own photo and seeing other people’s work, you can discover something new.

photo poster project

都市と日付を選ぶだけで参加できる、フォトポスターの展示会〈photo poster project〉。

私たちが ppp と呼ぶこのプロジェクトは、単なる写真の展示会ではありません。誰もが安心して自分のストーリーをシェアできるコミュニティであり、世界中のクリエイターとリアルな世界で繋がることができるチャンスでもあります。

そんな ppp が、10月4日（日）に、福岡の〈On your marks スタジオA〉にて開催されます！

cizucuが主催する〈photo poster project〉への参加はとても簡単です。


（１）展示場所と日時を選ぶ

（２）クレジットカード・Apple Pay・Google Payなどで簡単決済

（３）cizucuへ作品を投稿して応募


あとは会場へ行くだけです。同じエリアに住むフォトグラファーも多数参加するため、未来の写真仲間を見つけることができるかもしれません。

開催概要

【展示日時】
10月4日（日） 12:00 ~ 16:00
※ 展示者は、13:30 ~ 15:30 には必ず会場に居ていただく必要がございます。
※ 展示者以外の方は無料でご来場いただくことができます。

【展示者の当日スケジュール】
12:00 ~ 13:30 自由時間
13:30 ~ 14:00 展示作品の発表
14:00 ~ 15:30 交流
15:30 ~ 16:00 クロージング・ポスター持ち帰り

【展示場所】
On your marks スタジオA
福岡県福岡市中央区大名2-9-5 グランドビル2階
（福岡市営地下鉄空港線「赤坂駅」徒歩2分 / 「天神駅」徒歩6分）
https://www.e-leasing.jp/onyourmarks/

【参加費】
6,000円（A2プリント代・設営代・会場費 込み）
※ 展示の観覧・入場は無料です。

【テーマ】
「テーマなし / 自由」
テーマは設定されておらず、ポートレート、スナップ、ランドスケープ、その他どんな写真でも参加することができます。誰かに話したいストーリーがある一枚、理由はないけどなぜか惹かれる一枚など、あなたらしいお写真をお待ちしています。

注意事項

以下の注意事項を必ずお読みの上、参加申し込みを行なってください。

• 参加費には、プリント代・設営代・会場費が含まれます。支払い後は、作品未提出・当日欠席の場合も参加費が発生いたしますので予めご了承ください。
• 以下の条件を満たす作品を応募してください。
  • ファイルサイズ規定
    • (推奨) 短辺 4000ピクセル以上
    • (必須) 短辺 2000ピクセル以上
  • 縦作品のみ
  • 一枚写真（コラージュ作品・文字載せされた作品・枠あり作品などはNGとなります）
• 全ての参加者が「参加して良かった」と思えるイベント運営のため、応募時のコミュニティルールを必ずお読みください。
• 当日はイベント風景の撮影を行います。イベントの模様はホームページやSNS・広告等に掲載される場合があります。
• イベント終了時にその場にいらっしゃる方は、フォトポスターをお持ち帰りいただけます。後日発送などの対応はいたしかねます。

たくさんのご応募お待ちしております！

よくある質問

Q：参加費はどのように払いますか？
A：展示場所と日時を選んだ後、「クレジットカード」または端末によって「Apple Pay」「Google Pay」などでお支払いいただくことが可能です。なお、お支払い後のご返金には対応しておりません。また、当日ご欠席の場合も参加費が発生いたします。

Q：作品を応募するページはどこですか？
A：参加費の支払いが完了した後、自動で画面切り替えもしくはメールに記載されたリンクより応募いただけます。

Q：ポスターは持ち帰りできますか？
A：イベント終了時間（16時）に会場にいていただくことでお持ち帰りいただけます。発送対応は行っておりませんのでご了承ください。また、ポスター持ち帰り用の袋はご自身でご用意をお願いいたします。

Q：展示を知人に見に来てもらうことはできますか？
A：もちろん可能です！参加確定メールのお受け取り後、SNS等でぜひ告知してくださいませ。

Q：名刺を作ることができると聞きましたが、どうすれば作ることができますか？
A：参加確定後、メールにて詳細をご案内いたします。

Q：写真が決まっていなくても、申し込みできますか？
A：はい、可能です。締め切り前にソールドアウトする回もございますので、先にお申込みいただき、締め切り日までに作品の登録をいただくことをおすすめしております。

Q：過去の様子は見れますか？
A：以下の記事などをご覧ください⭐️

Read Your Photography turns its attention to the “stories” behind photographs—stories that cannot be discovered by looking alone. Alongside works gathered through the Photo Poster Project organized by cizucu and through social media, cizucu Magazine translates the contexts in which each photograph was created and the personal moments it holds into 12 languages, sharing them with audiences around the world.

Keeping a story close to your heart is one choice. Yet those feelings may quietly touch someone else and awaken an emotion not yet encountered.

This edition features works by three artists from around the world.
Let us take a gentle look into their singular stories.

허남현’s Story

허남현

📷 Leica Q2
📚 01

知っているつもりだった。でも、本当は知らなかった。
33年間、毎年春を迎えてきたはずなのに、今年の春はまるで初めて出会う季節のように感じました。

家の近くをコーヒー片手に歩いていると、道端に咲く小さな白い花が目に留まりました。
今まで何度も通っていたはずなのに、その日初めて気づいた。
春とは、季節が変わることではなく、見慣れたものが新しく見える瞬間なのかもしれない。

知っていると思っていた。でも、本当はちゃんと見ていなかった。
ようやく、花が見えるようになった。

cizucu Editorial Team
A quiet sense of encountering a familiar roadside flower as though seeing it for the first time permeates the entire work. The luminosity of the white blossoms converges with the deep blue-green tones cast by the building’s shadow, allowing the presence of spring—previously concealed within the everyday—to emerge suddenly into focus. The words “I thought I knew” also resonate with the act of looking at a photograph itself, making this a work that invites us to reconsider a landscape we thought we knew.

Green_tea_huang’s Story

Greenteahuang

📚 02

この写真は、台湾・嘉義県の東石漁人碼頭で撮影しました。

当日は天気に恵まれ、夕陽が海面を照らす光景がとても印象的でした。撮影中、偶然にも友人がカメラを構えていたため、その瞬間をフレームに収めました。遠近感によって、まるで友人が太陽そのものを撮影しているように見えるところが、この一枚の気に入っているポイントです。

私はこうした、思わず笑みがこぼれるような偶然の瞬間がとても好きです。何気ない仕草や出来事が、写真になることで特別な一瞬へと変わる。そんな面白さや感動を残せることが、私が写真を好きな理由の一つです。

cizucu Editorial Team
The sea illuminated by the setting sun converges with the silhouette of a friend holding a camera, creating a playful impression that they are attempting to photograph the sun itself. Although the composition arose serendipitously through perspective, the work is suffused with a sense of tranquil time and the joy of making photographs. The viewpoint of photographing someone who is themselves taking a photograph is equally compelling, gently conveying how an ordinary moment can be transformed into a treasured memory through another person’s gaze.

DrChuaYang’s Story

DrChuaYang

📚 03

2025年12月、私はLee Kong Chian Medical Schoolの医学生たちによる海外地域貢献プロジェクト（OCIP）の一環として、インド・コルカタで活動する「Project Kolkata」にメンターとして参加しました。

Project Kolkataは、現在または過去に性産業に従事していた女性たちを支援する活動です。現地のNGOと連携し、女性やその子どもたちを対象に健康診断や健康教育を行っています。

健康診断に訪れた女性たちの多くは、身元を守るためにマスクを着用していました。そのため、この写真にも顔は写っていません。
この一枚は、視力検査で使われる「タンブリングEテスト」の最中に撮影したものです。この検査は文字を読む必要がなく、「E」の開いている向きを指差すだけで受けられるため、読み書きが難しい方でも受診できます。

検査中、彼女が「上」を指差したその瞬間を捉えました。その姿は、まるで検査を無事に終えた喜びを表しているように感じられました。
人差し指を上に向ける仕草は、勝利や「ナンバーワン」を示すサインとしてよく知られています。しかし、この場面での意味は少し違っていました。検査の中で「上」を示したその動きは、彼女にとっての小さな達成であり、確かな前進でもありました。

背景は違っていても、そこにある喜びや誇りは、たしかにひとつの勝利だったのだと思います。

cizucu Editorial Team
The composition, in which only the fingertip emerges under a strong beam of light, communicates the significance of this instant with quiet yet unmistakable force. The examination setting appears blurred in the background, and precisely because the woman’s expression remains unseen, the raised index finger seems to carry the full emotional weight of the scene. A simple gesture indicating “up” is transformed into a sign that she was able to undergo the test, make herself understood, and celebrate a modest achievement. Created within a setting shaped by complex social realities, this work sensitively brings human dignity and hope to the fore.

In Closing

What did you think?

We want to look beyond what can be conveyed through the visual alone. Read Your Photography is an editorial series that attends to the thoughts and emotions held within photographs, inviting us to receive each work as a story.

What is pictured lasts only an instant. Yet beyond that instant lies time that has undeniably continued to flow, along with emotions that were never put into words.

We invite you to experience each photograph as you would read a story and turn the pages of a book.

How to Join

From time to time, cizucu posts a “photography theme” on Threads.
Simply reply with one of your works that speaks to the theme.

There is just one requirement: follow cizucu on social media 💙
From among the submitted works,
selected artists will receive a message from the cizucu Editorial Team!

Read Your Photography also features works exhibited through the Photo Poster Project (ppp), organized by cizucu.

A ppp exhibition may be taking place in your country, too. Encounters connected by nothing more than a shared love of photography are now unfolding around the world.

photo poster project

都市と日付を選ぶだけで参加できる、フォトポスターの展示会〈photo poster project〉。

私たちが ppp と呼ぶこのプロジェクトは、単なる写真の展示会ではありません。誰もが安心して自分のストーリーをシェアできるコミュニティであり、世界中のクリエイターとリアルな世界で繋がることができるチャンスでもあります。

そんな ppp が、10月10日（土）に、プサン・スヨンの〈마르갤러리 Mar Gallery〉にて開催されます！

cizucuが主催する〈photo poster project〉への参加はとても簡単です。


（１）展示場所と日時を選ぶ

（２）クレジットカード・Apple Pay・Google Payなどで簡単決済

（３）cizucuへ作品を投稿して応募


あとは会場へ行くだけです。同じエリアに住むフォトグラファーも多数参加するため、未来の写真仲間を見つけることができるかもしれません。

開催概要

【展示日時】
10月10日（土） 12:00 ~ 16:00
※ 展示者は、13:30 ~ 15:30 には必ず会場に居ていただく必要がございます。
※ 展示者以外の方は無料でご来場いただくことができます。

【展示者の当日スケジュール】
12:00 ~ 13:30 自由時間
13:30 ~ 14:00 展示作品の発表
14:00 ~ 15:30 交流
15:30 ~ 16:00 クロージング・ポスター持ち帰り

【展示場所】
마르갤러리 Mar Gallery
48314 부산시 수영구 수영로 488번길 26 재안빌딩 2F 마르갤러리
（釜山地下鉄2号線「金蓮山（Geumnyeonsan）駅」から徒歩2分）
https://www.mar-gallery.com/About/index.html

【参加費】
65,000ウォン（A2プリント代・設営代・会場費 込み）
※ 展示の観覧・入場は無料です。

【テーマ】
「テーマなし / 自由」
テーマは設定されておらず、ポートレート、スナップ、ランドスケープ、その他どんな写真でも参加することができます。誰かに話したいストーリーがある一枚、理由はないけどなぜか惹かれる一枚など、あなたらしいお写真をお待ちしています。

注意事項

以下の注意事項を必ずお読みの上、参加申し込みを行なってください。

• 参加費には、プリント代・設営代・会場費が含まれます。支払い後は、作品未提出・当日欠席の場合も参加費が発生いたしますので予めご了承ください。
• 以下の条件を満たす作品を応募してください。
  • ファイルサイズ規定
    • (推奨) 短辺 4000ピクセル以上
  • (必須) 短辺 2000ピクセル以上
  • 縦作品のみ
  • 一枚写真（コラージュ作品・文字載せされた作品・枠あり作品などはNGとなります）
• 全ての参加者が「参加して良かった」と思えるイベント運営のため、応募時のコミュニティルールを必ずお読みください。
• 当日はイベント風景の撮影を行います。イベントの模様はホームページやSNS・広告等に掲載される場合があります。
• イベント終了時にその場にいらっしゃる方は、フォトポスターをお持ち帰りいただけます。後日発送などの対応はいたしかねます。

たくさんのご応募お待ちしております！

よくある質問

Q：参加費はどのように払いますか？
A：展示場所と日時を選んだ後、「クレジットカード」または端末によって「Apple Pay」「Google Pay」などでお支払いいただくことが可能です。なお、お支払い後のご返金には対応しておりません。また、当日ご欠席の場合も参加費が発生いたします。

Q：作品を応募するページはどこですか？
A：参加費の支払いが完了した後、自動で画面切り替えもしくはメールに記載されたリンクより応募いただけます。

Q：ポスターは持ち帰りできますか？
A：イベント終了時間（16時）に会場にいていただくことでお持ち帰りいただけます。発送対応は行っておりませんのでご了承ください。また、ポスター持ち帰り用の袋はご自身でご用意をお願いいたします。

Q：展示を知人に見に来てもらうことはできますか？
A：もちろん可能です！参加確定メールのお受け取り後、SNS等でぜひ告知してくださいませ。

Q：名刺を作ることができると聞きましたが、どうすれば作ることができますか？
A：参加確定後、メールにて詳細をご案内いたします。

Q：写真が決まっていなくても、申し込みできますか？
A：はい、可能です。締め切り前にソールドアウトする回もございますので、先にお申込みいただき、締め切り日までに作品の登録をいただくことをおすすめしております。

Q：過去の様子は見れますか？
A：以下の記事などをご覧ください⭐️

“find new pieces” is a discovery project that uncovers compelling works from the countless submissions posted on Threads and presents their distinctive qualities through our magazine.

Each edition explores a theme, bringing together works from around the world to introduce as-yet-undiscovered talent—new pieces.

How to join

From time to time, cizucu shares a photography theme on Threads.
Simply reply with one of your works that speaks to the theme.

There is just one requirement: follow cizucu on social media 💙
From among the submitted works,
the selected artists will receive a message from the cizucu editorial team!

This time, we feature 10 works selected from the extraordinary number of submissions received from around the world.
Let’s explore these outstanding works, each animated by a distinct perspective and sensibility.

“green”

Green quietly breathes within the everyday.
Plants stretching along a street corner, leaves after the rain, shadows trembling in the light.
Though part of the landscape, the color leaves a subtle resonance in the mind of the viewer.

Vivid vitality, the deep presence of a forest, the tender hue of new shoots.
Even within the same “green,” every work holds a different temperature and sense of time.

What kind of “green” have you discovered?
Show us a singular story of green, framed through your unique perspective.

new pieces

Seina

💙 01

cizucu Editorial Team
A fleeting moment in which shadows cast by sun-dappled leaves fall softly across an open palm and a white sleeve. Rather than depicting the greenery itself directly, the work evokes its presence through light and shadow—an especially compelling quality. The gesture of the outstretched hand conveys a quiet intimacy, as though reaching out to touch nature, while a gentle sense of time flows through the entire frame. Amid its vividness, the work also carries a subtle fragility and coolness.

穗稻蔠倵

📷 FUJIFILM X-T20
💙 02

cizucu Editorial Team
Silhouettes of leaves fill the window, gently filtering the light from outside and spilling into the room like a green curtain. Set against the dark window frame, the layered foliage and translucent textures emerge with particular clarity, evoking the quiet passage of time. Rather than showing the exterior landscape directly, the work beautifully interprets “green” as light seen through a window, quietly reminding us of nature’s presence within everyday life.

徐尉喬

💙 03

cizucu Editorial Team
Reclining in an expansive meadow, eyes closed and face turned toward the light, the subject exudes an effortless sense of freedom. The heavily blurred grass in the foreground heightens the sensation of being enveloped in green, allowing viewers to imagine the humidity and breeze of the setting. The dog alongside the subject appears equally at ease; although this is a portrait, the relationship with the landscape becomes its central focus. Against the vivid green, human and nature seem to breathe in unison, creating a work filled with openness.

Harry Lai

💙 04

cizucu Editorial Team
Intense sunlight, a blue sky, and dense greenery covering the wall evoke a tropical atmosphere, while two figures walk unhurriedly through the center of the frame. The plants cascade as though swallowing the architecture, compellingly softening the boundary between the built environment and nature. By placing a small scene of human activity within this vivid landscape, the work creates an evocative openness reminiscent of a moment encountered by chance while traveling.

Koushi Saito

💙 05

cizucu Editorial Team
The composition draws the eye steadily into the distance, as though traveling by small boat through a tunnel of green. Deep green water, palm fronds pressing in from overhead, and shafts of intense light overlap to convey the exhilaration of a journey. The colors of the hats and boat, together with the red flag, create striking accents and lend rhythm to the frame. It is a photograph that seems to preserve the very experience of moving through nature as a vivid memory.

Azuki

📷 NIKON Z6 II
💙 06

cizucu Editorial Team
Deep within the dark bamboo grove, an opening of light appears. Through this contrast between illumination and shadow alone, a story begins to unfold within the photograph. Upright bamboo, diagonally fallen trunks, and leaves gathered underfoot form intersecting lines that naturally guide the eye toward the luminous green at the center—a masterful composition. Within the stillness lies a subtle tension and sense of mystery. This work approaches green not merely as something restorative, but as a place that grows denser and more enigmatic the farther one ventures within.

Sylvie

💙 07

cizucu Editorial Team
Within a softly diffused field of green, only the white light emerges with intensity. The inability to immediately define what has been photographed becomes the work’s central allure. Its shimmering quality suggests both a reflection on water and a landscape viewed through glass, creating the sensation that reality is gradually receding. This is not the vivid green of nature, but “green” as memory or presence. Though abstract, the work leaves behind a lingering impression imbued with humidity.

@hele_moa

💙 08

cizucu Editorial Team
The vast expanse of farmland unfolds like an immense score written in green. Straight lines formed by paths and roads, plots of rice fields in varying tones, and a small train crossing through them structure the landscape. The train’s red and yellow carriages provide measured accents within the broad vista, briefly bringing movement to the tranquil countryside. The elevated viewpoint clearly reveals how nature and human activity are interwoven. This work presents green not simply as “scenery,” but as the foundation of everyday life.

Lawrence Liou

💙 09

cizucu Editorial Team
The work offers a fresh interpretation of green in everyday life, framing it through the atmosphere of the city. The green of the delivery worker’s jacket and bag merges with the light outside the convenience store, its signage, and the movement of passersby, conveying the lived reality of working within the urban landscape. Rather than green as the color of nature, it becomes a hue associated with service, transit, and moments of rest. Combined with the slightly subdued palette, it leaves a lingering impression of a humid night and a fleeting pause amid the city’s movement.

folzany

💙 10

cizucu Editorial Team
The whiteness of an abandoned bathtub intensifies the density of the surrounding greenery. An object that ordinarily belongs indoors now sits quietly among overgrown plants, collecting rainwater. This dissonance powerfully evokes the passage of time and the memory of place. Rather than cultivated nature, the work depicts greenery gradually reclaiming what human hands have left behind. Beauty and unease coexist in this deeply resonant photograph.

In Closing

What did you think?

Even within the same green, the direction of the light, the season, and the passage of time can reveal entirely different expressions. The submitted works vividly conveyed each photographer’s own “green time”—from fresh vitality and stillness to traces of nature breathing within the city.

Discovering as-yet-unseen talent—new pieces—is precisely the role we hope this project will fulfill. We also hope it offers an opportunity for your creative expression to reach and resonate with more people.


We hope you’ll look forward to the next theme.
Follow cizucu across our social media channels and stay tuned 💙

August Diary ’26

“August Diary ’26” is a global online photography contest presented by cizucu and open to all creators registered with cizucu. By curating outstanding works from among the submissions, the contest aims to discover emerging talent through the platform and foster support through the community.

This edition’s theme is “An August Diary.”

The “Diary” series invites you to share photographs taken in your everyday life alongside the events and experiences of each day, much like keeping a diary.

A diary offers an invaluable way to document your life and experiences. Looking back allows you to view your growth and transformation objectively while gaining new insights. We encourage you to include your own story as a way of reflecting on your everyday thoughts and emotions.

August is the month when summer feels most vivid.
The blazing sunlight, the glow of festivals, the afterimages of fireworks, and the night air drifting in through an open window.
Whether an ordinary day or a journey far from home, every moment seems imbued with a slightly extraordinary warmth.

Share the summer you experienced through photography.
We look forward to receiving your submissions!

Inspiration

kaiphotograph

cizucu Editorial Team
Fireworks shimmer against the darkness of night, while hands attempt to capture the fleeting moment through a smartphone screen. Time spent simply losing oneself in the fireworks with close friends becomes an irreplaceable and treasured memory. The work gently conveys that sense of affection, evoking even the slightly humid air and the crackling sound of fireworks bursting overhead.

ヤマグチ　マサト
夏の味、思い出の香り

📷 SONY α7 III

cizucu Editorial Team
The striking presence of the dynamically framed corn immediately engages the senses. Its vivid yellow recalls the bounty of summer’s intense sunlight, while the charred surface vividly conjures the bustle of barbecues and festival stalls. Perhaps it is the most familiar things that, once preserved in a photograph, gather layers of memory and become especially cherished. This evocative work seems to distill the very taste of summer.

吉田 草風
窓

📷 FUJIFILM X-E5

cizucu Editorial Team
The dazzling surface of the sea, shimmering brightly yet dissolving into a soft haze beyond the window, immediately draws the eye. Its contrast with the quiet silhouettes of the seats in the foreground evokes the wistful atmosphere of being midway through a journey to somewhere distant. The image’s restraint leaves ample room for the viewer’s imagination, creating a work with a lingering resonance. On your travels this summer, why not preserve a moment that moves you?

好 | Kodai Yamashita
夏を放り投げるほどのきらめき

📷 SIGMA fp

cizucu Editorial Team
Along a roadside bathed in harsh sunlight lie an empty ice-pop wrapper and a towel package, each carefully restored to its original shape. From this unembellished scene—traces of everyday life set quietly alongside weeds—emerges the presence of someone entirely unguarded, capturing our attention in an unexpected way. It is a little exasperating, a little poignant, yet somehow endearing. The work feels like an unfiltered record of the traces left by someone’s summer.

yuko.
夏の夜

cizucu Editorial Team
The diffused city lights and hazy silhouettes evoke the sensation of inhabiting a dream steeped in heat. Multicolored bokeh further heightens the work’s ethereal atmosphere. Warm orange illumination and scattered points of light seem wrapped in summer humidity, as though preserving the lingering sensation of a night that remains deep in one’s memory. Precisely because nothing is clearly defined, the image gives form to a memory that is indistinct yet deeply cherished.

Contest Information

【Submission Period】
Saturday, August 1–Monday, August 31, 2026

【Selected Artists Announcement】
Around Thursday, September 10, 2026

【Prize】
Complimentary admission to the “photo poster project” presented by cizucu (two recipients)

【How to Submit】
・Select the “August Diary ’26” contest
・Tap “Agree to the Submission Guidelines and Post”
・Select the content you wish to post and submit your work

【Jury Criteria】
(1) Relevance to the theme: Does the work respond to the stated mission?
(2) Clarity of subject: Does the work communicate what the photographer seeks to express and convey their intent?
(3) Expression: Does the work demonstrate expressive strength through perspective, composition, balance, focus, color, and other visual elements?
(4) Decisive moment: Does the work successfully capture the subject at the most compelling moment?
(5) Originality: Does the work demonstrate a distinctive approach to its setting, subject matter, or other elements?

Through interviews with individuals who pursue photographic expression through their own unique perspectives, we explore the origins of their creativity, the philosophies that shape their work, and the processes behind their practice—bringing fresh inspiration to photographers and photo media around the world.

In this issue, we speak with French photographer Romain JACQUET-LAGREZE, who is mainly active in Hong Kong. Since moving to Hong Kong in 2009, he has continued to capture the city through his distinctive perspective, focusing on its vertical architecture, the relationship between nature and the city, the lives unfolding on shared rooftops in older districts, and the Chinese characters that fill its streets.

We explore Romain’s creative beginnings, the ideas and perspectives he holds dear, and how his approach to image-making offers valuable insight into contemporary photographic culture. Preserving these thoughts and experiences in writing today may help support and enrich the future of photography.
Through these “10 Questions,” we take a closer look at the process behind how his work comes into being.

Romain JACQUET-LAGREZE

French photographer mainly active in Hong Kong. He released his first photobook, Vertical Horizon, in 2012. Since then, he has continued to create work around themes such as Hong Kong’s architecture, nature, rooftop life, and the visual language of the city. His major works include Wild Concrete, Concrete Stories, The Blue Moment, and Echoing Above.

Q1. Tell us about the origins of your photography and your current activities.

I have always been deeply drawn to visual art. In my early years, I was more dedicated to drawing than to photography, but things gradually began to change after I moved to Hong Kong in 2009.
I was 22 years old, and the city had a huge impact on me. I felt deeply inspired by everything I saw here, so I started spending more time outside with a camera than at home with my pencils.

That shift continued gradually until I released my first photobook, Vertical Horizon, in 2012.

Q2. What are the most important elements or themes in your work?

There are a variety of themes that have fascinated me over the past 15 years, and all of them are connected to Hong Kong.

The first thing I noticed and began to explore was Hong Kong’s vertical architecture.
Hong Kong is a highly dense city built on limited land, surrounded by mountains and sea. Because of this unique topography, the city creates a landscape where buildings seem to stretch upward toward the sky. I recorded the way this architecture reaches higher and higher into the sky in my 2012 project, Vertical Horizon.

Another aspect that deeply inspired me was the relationship between nature and the city in such a compressed urban environment. I was especially fascinated by Chinese banyan trees growing wildly on residential buildings in the middle of the city, and by the bird life that gathers around them. I explore this theme in my books Wild Concrete (2014) and Echoing Above (2025).

The lives of people on shared rooftops in older districts also occupy an important part of my photographic journey. I documented this in Concrete Stories I (2016) and Concrete Stories II (2022).

Lastly, the Chinese characters found everywhere on shop signs throughout Hong Kong’s streets have been a huge source of inspiration for me. I love photographing individual characters and creating collages with them through my project City Poetry, which I plan to release as a book in 2027.

Q3. How do your works come to life? We’d love to know what goes on behind the creative process — intuition, chance encounters, on-the-spot decisions.

I am a very instinctive photographer, and I rarely begin with a clear idea.

What I value most in my creative process is going outside as much as possible. The more I go out, the more photographs I take. I am inspired by many different things, and over time, my focus gradually narrows toward one subject.

From there, I spend several years delving deeply into that theme. Eventually, I bring it together as a photobook.

Q4. What drives you to keep creating?

I think what drives me most is that I simply love the creative process.

I am curious, I love to explore, and I enjoy looking at details that people don’t notice. I find true beauty in each of my subjects.

I want to observe that beauty for as long and as intensely as I can, and to share it with people through my photographs. I want others to see the beauty that I see.

Q5. Please share one of your favorite shots. We’d also love to hear the story behind it and why you chose it.

This is an extremely hard question, but if I had to choose one, I would choose The Blue Moment #8.

It is the cover photo of my book The Blue Moment, released in 2016. Thanks to the success of this book and the exhibition we held at Blue Lotus Gallery, I was able to become a full-time photographer.

It shows my favorite part of Hong Kong, from the short old buildings of Sham Shui Po to the higher towers of Mong Kok, during the blue hour. This is the area where I have spent most of my time and where I have taken the largest part of my photographic work, so seeing all of it in one photo brings back a great many memories.

Q6. In the age of AI, what do you think photography means?

The rise of AI in the past few years has made me realize even more strongly that photography is a unique type of art because it is bound to reality.

For me, photography is about showing our immediate surroundings with as much authenticity as possible. Finding beauty in the small things around us and in the everyday scenes of life we witness, then sharing that beauty with an audience, is the essence of photography for me.

And I feel that this is something AI cannot do.

Q7. Within the Hong Kong scene, what movements or communities do you feel are particularly significant?

I started my photographic career by having my books published by Asia One and exhibited at Blue Lotus Gallery.

So I naturally feel close to the scenes that have developed around these two important players in the Hong Kong photography scene, both past and present.

To name a few, Fan Ho, Greg Girard, Michael Wolf, and Marcel Heijnen are photographers whose artistic journeys I find deeply inspiring.

Q8. Are there photographers or creative scenes from other countries that inspire or excite you?

Beyond the photographers I mentioned above, I love the work of Sebastião Salgado, Michael Kenna, and Edward Burtynsky.

I feel that each of them, in their own way, has a profound way of looking at the world.

Q9. Tell us about something you would dedicate your life to pursuing.

Witnessing real life, regardless of whether it appears visually “beautiful” at first glance.

I think an artist must have the capacity to see beauty and be moved by small moments and small things. Our job is to share that beauty in the best way we can, with as many people as possible.

What I want to pursue is passing on the impulse of inspiration I felt when I first witnessed that beauty.

Q10. What message would you like to share with creators around the world, from where you stand today?

Beauty is hidden everywhere. In fact, it often exists most intensely in the most overlooked aspects of our lives.

I believe we are here to experience life as intensely as we can, including all the contrasts it brings. The key is to always remain curious, to stay inspired, and to share the feelings that move us.

Cameras and the stories behind them, told by photographers who love the medium. The idea of a “beloved camera” reflects each person’s perspective and values. In this installment, we meet umai_gohan, a devoted user of the SONY DSC-F828.

Compact digital cameras are generally understood as small, lightweight “everyday cameras” that anyone can use. Yet the SONY DSC-F828 quietly—and boldly—defies that definition. It will not fit in a pocket, nor is it lightweight. Using CompactFlash as a recording medium, it retains the unmistakable character of Japan’s Heisei era and continues to occupy a singular position today.

SONY DSC-F828: Key Specifications

The SONY DSC-F828 debuted as a bridge camera equipped with an approximately 8-megapixel CCD sensor, combining high resolution with rich expressive potential by the standards of its time. Rather than a conventional RGB array, it employs an RGBE color filter array incorporating an emerald channel, lending distinctive depth to tonal rendering across the green spectrum. In its depiction of natural landscapes and plant life, the camera achieves color reproduction that transcends color as mere information, conveying an almost palpable sense of atmosphere and humidity.

A Singular Identity Born of Ambiguity

The first impression made by the SONY DSC-F828 is its enigmatic presence: it resists easy classification. It lacks the casual accessibility of a compact digital camera, yet it is not a full-fledged system camera like a DSLR. Positioned somewhere in between, it occupies a distinctive territory that cannot be fully identified with either category.

Its weight in the hand and operational design differ from the easygoing character associated with a compact camera, yet neither do they demand the rigor of an interchangeable-lens system. This ambiguity gradually unsettles the photographer’s habitual way of seeing.
As a result, the act of photographing begins to feel less like a “choice” and more like a “dialogue.”

The “Density of Green” Created by RGBE

At the heart of this camera is its RGBE sensor. By adding an emerald channel to the conventional RGB array, it gives the reproduction of green a distinctive richness.

There are moments when ordinary plants and grasses emerge not simply as color, but as “layers.” This is green not as data, but as the cumulative result of air and light. At times, its rendering can feel excessive—even more real than reality itself.

The photographer begins to question “where reality ends” precisely because the camera’s color rendition is so persuasive.

NightShot and the Other Side of Vision

The SONY DSC-F828 features NightShot, which uses infrared imaging to reveal a world beyond ordinary human vision.
Infrared light lies outside the visible spectrum, and cameras have generally evolved to filter it out. This model, however, deliberately reclaims what has been excluded. What emerges is an alternative interpretation of familiar places.

The same street, the same park, the same landscape suddenly assumes an entirely different meaning. What appears is not an extension of reality, but a world that seems to occupy its reverse side.

What Does Photography Render “Correctly”?

Using this camera begins to destabilize the very standard by which an image is deemed “correct.” The sensor architecture, color design, and treatment of infrared light work in concert, producing subtle discrepancies between the world before the lens and the world within the photograph.

Rather than correcting those discrepancies, one begins to observe them; photography then shifts from documentation to interpretation.

Before long, you realize that you are not photographing reality itself, but the way reality appeared to “slip out of alignment.”
Perhaps that sensation is the camera’s most enduring resonance.

umai_gohan

Photographs primarily abandoned places, street scenes, and zoos.
Working mainly with prime lenses, umai_gohan emphasizes distilling the “density of time” through reductive composition and decisions made in the moment.
The equipment selection is deliberately specialized, with each configuration tailored to a specific intention.

cizucu: umai_gohan
Threads: @umai_gohan___

cizucu’s photo poster exhibition, 〈photo poster project〉, takes place around the world and can be joined simply by choosing a city and a date.

Known as ppp, this project is more than a photography exhibition. It is a community where everyone can share their stories in a welcoming environment, as well as an opportunity to connect with creators from around the world in the physical world.

For this edition, we spoke with kumasaburo2533, a creator who participated in 〈photo poster project〉.

Please introduce yourself.

Based in Hiroshima, I enjoy photography while following fluffy creatures.
I primarily photograph wild birds, drawn to their small gestures, fleeting expressions, and those moments that instinctively bring a smile to one’s face.
I press the shutter in an effort to preserve the distinctive character found in each fleeting moment.

What inspired you to participate?

Previously, someone from cizucu invited me to visit one of the exhibitions so I could first get a sense of the atmosphere. Every work displayed in the gallery was outstanding, and I remember feeling somewhat intimidated, honestly wondering, “Is it really all right for me to be here?”

Even so, I was genuinely curious about what it would feel like to experience one of my photographs becoming a poster. Rather than existing only on a screen through social media, I wanted to experience the sensation of the photograph existing in a place and space as a work in its own right, so I decided to take the plunge and participate.

What was it like to participate in person?

It was a wonderfully enjoyable experience in a space that felt even warmer than I had imagined!
The other participants were easy to talk to, and I found the atmosphere—where we could naturally discuss photography—very welcoming. Seeing my own work exhibited as a poster and viewed by so many people was a truly gratifying experience.

I was also able to encounter approaches to light and perspectives that differed from my own, which was an invaluable learning experience.
After the exhibition, an acquaintance who liked the work displayed it in their shop. It felt as though people who do not normally engage with photography were able to see another side of me.

Why did you choose this particular photograph?

When expressing what feels true to me, I wanted to choose a moment that genuinely captivated me.
I usually photograph wild birds, but just before selecting the work for the poster, I happened to encounter this cat with such a wonderfully relaxed expression. It even had a little drool on its mouth (laughs).

I think part of what defines me is being drawn not to perfectly composed beauty, but to unguarded moments like this—moments that make you smile without thinking.
By focusing on the expression and cropping boldly, I aimed to create a work that would make people stop and wonder, “What is that?”

For those considering participating in photo poster project

At first, I was worried, wondering, “Will my work really be good enough?” But once I participated, that feeling quickly disappeared.
I believe the appeal of this exhibition lies not only in viewing the works, but also in encountering the thoughts and sensibilities of the people who created them. Experiencing your photograph step beyond the screen and become a “work” is something special.

If you are even slightly curious, I encourage you to take that first step. I’m sure new discoveries and encounters are waiting for you!

photo poster project

The photo poster project is an exhibition of photo posters that anyone can participate in simply by choosing a city and date.

What we call ppp is more than just a photography exhibition. It is a community where everyone can safely share their stories, and an opportunity to connect with creators from around the world in real life.

This time, we present a report on the photo poster project held at Prinsep Gallery in Singapore on Saturday, July 18. If you are interested in joining future editions of the photo poster project in different locations, this is a must-read!

What is the photo poster project?

Opportunities to exhibit your own photographs or to make friends with other photographers are not always readily available. Moreover, organizing a solo exhibition can be both time-consuming and costly.

The photo poster project, organized by cizucu, addresses these challenges.
Simply choose a location and date, and submit your photographs to cizucu to have your work displayed in large A2 format. Many photographers from the same area also participate, so you may find future collaborators or friends.

There is no need for the hassle of 'renting a space, finding a printer, or setting up.' Just fill out the form and join the event on-site!

Scenes from the Day

At night, the contours of familiar scenes subtly shift.
Lights in windows you never noticed during the day, streetlights bleeding onto the pavement, shadows falling in quiet rooms, the distant glow of city buildings. The interplay of darkness and light creates negative space, atmosphere, and a hint of narrative within a photograph.

This month, we are launching a hashtag campaign with #night!

Share your creations with #night

Night is more than just the absence of daylight.
A city emptied of people, the sky you glance up at on your way home, a small light lingering in a room, neon reflected on rain-soaked streets. The unique stillness and presence of light at night emerge in photographs with a depth distinct from the day.

Whether it’s a cityscape captured with a tripod, a spontaneous snapshot on your way home, the glow through a window, nighttime portraits, starry skies, the moon, convenience stores, vending machines, or shadows beneath streetlights—capture the ‘presence of night’ you find in everyday places.

At cizucu, we host hashtag campaigns and photo contests to inspire your photographic practice. Register on the app to explore the latest content.

Introduction

'Green Hours' is a global online photo contest organized by cizucu, open to all creators registered on cizucu. The contest curates outstanding submissions, aiming to discover new talent as a platform and to support the community as a whole.

This edition's theme was 'Moments with Greenery'.

There are times when encountering nature or greenery makes us pause and take a deep breath.
The flicker of sunlight through leaves, the sound of wind rustling foliage, the quiet presence of green nestled between city buildings.
These small touches of nature in our daily lives gently loosen our hearts and bring a sense of calm.

This photo contest drew submissions from creators around the world, each capturing their own perspective on 'moments with greenery'.

Now, we are pleased to present the submissions and the awarded works.

Submissions

hsien
模糊的接觸 Blurred Contact

cizucu Editorial Team
This work evokes a sensation as if separated by a soft veil, with only the presence of leaves quietly emerging, gently opening the viewer’s senses. By not clearly defining the contours, it invites the imagination to sense the light, humidity, and even the temperature of the air. Rather than presenting green as a 'landscape', it offers it as a tactile sensation—almost touchable, yet just out of reach—leaving a lasting impression.

mumei ksm

📷 Canon EOS 6D Mark II

cizucu Editorial Team
With framing reminiscent of gazing out a train window, this work gently captures a radiant green landscape as a cherished memory. The tracks leading into the distance naturally guide the gaze, evoking the fresh moments one encounters unexpectedly on a journey. The diffused light and surrounding shadows are effective, further highlighting the vibrancy of the outside world. It’s a memorable piece that even conveys the subtle presence of changing seasons.

beanuptosomething

cizucu Editorial Team
Layers of leaves overlap, conveying a rich gradation of green and a sense of tranquil breathing. The subtle variations in shape and color, though similar, are captured with care, embodying the delicate rhythms of nature. Despite the density of the composition, there is no sense of confinement; instead, the space gently receives the viewer’s gaze. This work is filled with the quiet presence of life.

Awarded Works

Water Fan
MACAU｜2025

cizucu Editorial Team
The geometric order of a manicured garden and the scattered presence of people resonate beautifully, capturing the richness of time flowing through a green space. The aerial perspective reveals a balance of order and playfulness, elevating the scene beyond mere documentation to the level of a stage. The sense of openness and subtle humor found in everyday life is palpable, making this a compelling work.

shiba
Time That Has Always Been Here

📷 SONY a7 III

cizucu Editorial Team
The shimmering green seen through water is exceptionally fresh, evoking layers of time that have persisted for ages. The vivid colors are overlaid with textures reminiscent of wear and blurring, creating a depth that goes beyond mere brightness. The gaze that quietly encapsulates memories and presences within an ordinary landscape is beautiful, leaving a lingering resonance unique to this work.

In Closing

We hope you enjoyed this feature.

The works submitted this time captured the sway of trees, the presence of grasses and flowers, and the expressions of leaves illuminated by light—each creator’s unique encounter with moments of greenery.

Through the lens, we are reminded that even on familiar streets, in the corners of our rooms, or in the scenery of our travels, there are moments of green that gently loosen our hearts and bring quiet order.

We hope this contest inspires you to notice the small pockets of green and the gentle passage of time that flow beside them in your everyday life.

photo poster project

The photo poster project is an exhibition of photo posters that anyone can join simply by selecting a city and date.

What we call ppp is more than just a photography exhibition. It is a community where everyone can safely share their stories, and an opportunity to connect with creators from around the world in real life.

This time, we present a report on the photo poster project held at gallery 718 in Fukuromachi, Hiroshima, on Sunday, July 12. The venue was an exhibition space located in Fukuromachi, Naka Ward, Hiroshima City. Through photography, it became a day for creators in Hiroshima to meet and share their works.

What is the photo poster project?

Opportunities to exhibit your own photographs or to make friends with other photographers are not always readily available. Moreover, organizing a solo exhibition can be both time-consuming and costly.

The photo poster project, organized by cizucu, addresses these challenges.
By simply choosing a location and date and submitting your photographs to cizucu, you can have your work exhibited in large A2 format. Many photographers from the same area also participate, so you might find future photography companions.

There is no need for the hassle of "renting a space, finding a printer, or setting up." Just fill out the form and join the event on site!

Scenes from the Day

Creators who are passionate about photography share their stories of cameras and the narratives behind them. The notion of a “beloved camera” reflects each photographer’s perspective and philosophy. In this installment, we feature Mumei, who is devoted to the Hasselblad XCD 2,5/90V.

Ordinarily, lenses are chosen to suit the subject or the image one wishes to express. Whether exaggerating space with a wide angle, closing the psychological distance with a 35mm–50mm, or leveraging compression with a short telephoto—these “rational choices” are the foundation of image-making. Yet, Mumei describes this lens as one that gently unsettles those very assumptions.

Hasselblad XCD 2,5/90V | Key Specifications

The Hasselblad XCD 2,5/90V is a medium format prime lens with a 90mm focal length (equivalent to approximately 71mm in full-frame terms). It offers a bright maximum aperture of F2.5 and is engineered with a well-balanced weight of around 551g.
While positioned as a short telephoto, it embodies Hasselblad’s philosophy of rendering what the eye sees as faithfully as possible, resulting in high-transparency images that avoid excessive dramatization.

Reverse-Engineering Expression Through Focal Length

When photographing, it’s common to select a lens with a focal length that matches the subject or the image you wish to create.

Do you want to convey dynamism with a wide angle, evoke intimacy with a 35mm–50mm, or utilize the compression effect of a short telephoto?

Ultimately, I see the lens as one of many tools and methods for artistic expression.

An Allure Beyond Specifications

Yet, I find this lens possesses a mysterious pull—before I know it, I’m reaching for it. The focal length is a fixed 90mm (about 71mm full-frame equivalent), and of course, there’s no zoom.

For a medium format short telephoto, I’d say it’s relatively compact, though with the bright F2.5 aperture, it still has a certain heft (at 551g, some may even consider it “light”).

The autofocus isn’t exactly lightning-fast (perhaps influenced by the somewhat sluggish AF of the CFV100C), and especially with face detection AF, it often hesitates.
It’s not uncommon to find that focus has missed the face when reviewing images after shooting.

Purity of Expression Through Deliberate Limitation

Even so, on days I use this lens, I can decisively accept, “If I can’t capture it with this, I’ll let it go,” because the images are so beautiful.

That said, I also feel that Hasselblad cameras are not ones you can rely on to “fake it” with a moody look. For better or worse, their defining trait is to render what the eye sees as faithfully as possible, so unless you’re intentional about the light, the image won’t come together. That’s the challenging (and fascinating) aspect of this camera and lens pairing.

On days when I encounter beautiful light, I can’t help but feel triumphant for having brought this lens. Conversely, on days I leave it behind, that’s inevitably when the best light appears, and I regret not having the 90V with me. After repeating this experience, I now find myself carrying this lens everywhere.

To be honest, 90mm is a subtle focal length—hard to call “easy to use” without reservation.
It doesn’t always deliver the expected compression at a distance, and in tight indoor spaces, it can be unwieldy, often resulting in similar framing.

If you’re used to 70mm on full-frame, the difference in perspective can be a bit disorienting (perhaps it’s just me). That’s why I’ve come to embrace this lens for its unique “90V perspective.”

Despite its quirks, there’s something about this lens that makes you want to tame it. There’s a wild, untamable quality to the Hasselblad XCD 2,5/90V that’s strangely compelling.

むめい

むめい here. I shoot street photography in Kanagawa and accept on-location photography requests.

cizucu: むめい
Instagram: @muna_to_mumei

The is held worldwide by cizucu. By simply submitting your photographs to cizucu, you can participate in the photo poster exhibition and connect with fellow photographers you have yet to meet.

The is operated together with volunteer staff from across the globe. Each staff member, coming from diverse backgrounds, brings their own intentions and passion to help shape this platform.

This time, we spoke with tonichijou (Ben), a creator active as a staff member in the Taipei area of Taiwan.

Please introduce yourself!

I'm Ben, working as a staff member for the in the Taipei area of Taiwan. By day, I am a software engineer, and in the midst of my busy and detail-oriented routine, I capture memorable moments through photography.

My photography account is named “t.o.nichijou,” which carries the meaning “To nichijou” (致日常 = to the everyday). Every time I press the shutter, I feel as if I am writing a letter to the everyday through my photographs. For me, photography is not just about preserving fleeting time, but rather, it is like quietly addressing words to the emotions found in daily life.

I began my role as a staff member in the Taipei area in October 2025. Through photography, I hope to share a pure gaze toward the everyday and nurture the ppp community here in Taiwan.

What inspired you to participate in ppp and become a staff member?

I first learned about ppp when I was invited by cizucu to an exhibition in Kyoto. There, I discovered a system where you could participate in exhibitions in distant places simply by submitting your photographs. It was also the experience of seeing digital images, once confined to a screen, come to life as tangible posters before an audience.

ppp offers a structure where digital photography is imbued with a ‘tangible warmth,’ while leveraging the convenience of the internet to make exhibitions accessible to anyone. I felt that it is a place that gently encourages those who want to connect with others or are interested in exhibiting but unsure where to start.

I resonated deeply with this philosophy and began to think, “I want to continue ppp in Taiwan for a long time and share it with even more people.” That sense of inspiration became my first step toward becoming involved as a staff member.

What do you find uniquely appealing about ppp as a staff member?

In an era where information flows endlessly, we often scroll quickly through countless images on our screens. But at a ppp exhibition space, photographs are meant to be paused in front of and truly seen.

Standing before a poster, exchanging glances, and conversing about the photographer’s perspective and daily life—what I find most compelling about ppp as a staff member is this ‘face-to-face exchange.’

The moments when participants and visitors naturally start conversations in front of the artworks. When a photograph by someone unknown evokes memories or emotions in someone else. To witness these scenes—where sincerity and warmth are exchanged, away from efficiency and speed—is why I am drawn to ppp and wish to continue my involvement as a staff member.

What do you value most as a staff member, and what moments have felt most rewarding?

When the exhibition setup is complete and participants and visitors pause in front of the artworks, chatting happily and smiling—each time, I feel grateful to be part of ppp.

One message remains vivid in my memory. The person told me that my welcoming words and guidance about the atmosphere and exhibition helped ease their nerves.
A simple word or a small gesture of consideration can be the encouragement someone needs to feel comfortable entering the space. That experience gave me a sense of fulfillment as a staff member.

What I value most as a staff member is sincere communication and respect for creators.

Behind every photograph are the emotions the photographer experienced in their daily life and their unique perspective. That is why I never want to treat preparations, communications, or guidance at the exhibition space as mere tasks. I aspire to be a reliable bridge—connecting creator to creator, and creators to viewers.

Do you have a message for those considering joining as staff in the future?

To anyone considering joining ppp as a staff member, please don’t worry about ‘not having enough experience.’

In today’s society, there are many values and frameworks, but as staff, you are the first point of contact for participants and can directly convey kindness and warmth.
You don’t need extensive exhibition experience or event management skills from the start. What matters is the desire to connect with others through photography and the willingness to engage with respect.

The ppp platform is also a place where small letters can be exchanged between people. Photographs that once existed only on a screen become posters, and people meet and converse before them. I look forward to nurturing this warmth in Taiwan.

photo poster project

The photo poster project is an exhibition where you can participate simply by choosing your city and date.

What we call ppp is more than just a photography exhibition. It is a community where everyone can safely share their stories, and an opportunity to connect with creators from around the world in real life.

This August 23 (Sunday), ppp will be held at 어티피컬 / Atypical Gallery in Yongsan-gu, Seoul!

Participating in the photo poster project organized by cizucu is very simple.


(1) Select the exhibition space and date

(2) Easy payment via credit card, Apple Pay, Google Pay, etc.

(3) Submit your artwork to cizucu to complete your submission


All that's left is to visit the gallery. Many photographers from the local area will also participate, so you may find future collaborators or friends in photography.

Event Overview

[Exhibition Date & Time]
August 23 (Sunday) 12:00 ~ 16:00
* Exhibitors must be present at the gallery from 13:30 to 15:30.
* Admission is free for all non-exhibitors.

[Exhibitor Schedule on the Day]
12:00 ~ 13:30 Free time
13:30 ~ 14:00 Artwork presentations
14:00 ~ 15:30 Networking
15:30 ~ 16:00 Closing & poster pick-up

[Exhibition Space]
어티피컬 / Atypical Gallery
34, Cheongparo 45-gil, Yongsan-gu, Seoul, 2F
(Approx. 5 min walk from Sookmyung Women's Univ. Station Exit 8 on Subway Line 4 / Approx. 10 min walk from Namyeong Station Exit 1 on Subway Line 1)
https://atypical.kr/

[Participation Fee]
65,000 KRW (includes A2 print, installation, and gallery fee)
* Admission to view the exhibition is free.

[Theme]
"No theme / Open" There is no set theme. Portraits, snapshots, landscapes, or any type of photography are welcome. Whether it’s a photograph with a story you want to share or an image that simply captivates you, we look forward to seeing your unique work.

Important Notes

Please read the following important notes before applying.

• The participation fee includes printing, installation, and gallery costs. Please note that the fee is non-refundable even if you do not submit your artwork or are absent on the day of the event.
• Please ensure your submission meets the following requirements:
  • File size requirements
    • (Recommended) Short side at least 4000 pixels
    • (Required) Short side at least 2000 pixels
  • Vertical images only
  • Single photograph (collages, images with text overlays, or with borders are not accepted)
• To ensure a positive experience for all participants, please read the community guidelines at the time of submission.
• Event documentation will take place on the day. Photos and footage may be published on our website, social media, or in promotional materials.
• Participants present at the end of the event may take their photo poster home. We are unable to provide shipping after the event.

We look forward to your submissions!

Frequently Asked Questions

Q: How do I pay the participation fee?
A: After selecting the exhibition space and date, you can pay by credit card or, depending on your device, Apple Pay or Google Pay. Please note that payments are non-refundable, and the fee is required even if you are absent on the day.

Q: Where do I submit my artwork?
A: After completing your payment, you will be automatically redirected or receive a link via email to submit your work.

Q: Can I take my poster home?
A: Yes, you may take your poster home if you are present at the gallery at the end of the event (16:00). Please note that we do not offer shipping. Please bring your own bag for the poster.

Q: Can I invite friends to view the exhibition?
A: Absolutely! Once your participation is confirmed, feel free to share the event on social media.

Q: I heard I can make business cards. How can I do that?
A: After your participation is confirmed, we will send you details via email.

Q: Can I apply even if I haven't decided on my photograph yet?
A: Yes, you can. Some sessions may sell out before the deadline, so we recommend applying first and submitting your artwork before the deadline.

Q: Can I see past events?
A: Please check the articles below for reports on previous events ⭐️

Walking through Shinjuku at night, there are moments when you simply have to stop. Layered signs on building facades, glowing shop names deep in narrow alleys, red and blue lights bleeding into rain-soaked asphalt. Even in a familiar cityscape, something compels you to raise your camera.

With the music of Miki Matsubara or Mariya Takeuchi playing in your mind, you realize that the scenes from music videos truly exist in Tokyo's nocturnal cityscape.

The city lights in Wong Kar-wai’s film "Chungking Express" and in Edward Yang’s Taiwanese cinema have, across countries and eras, quietly comforted the hearts of urban dwellers.

Yet, one day, these neon signs may disappear. This is not merely a story of gentrification, nor simply a lament for changing cities. The neon signs may vanish.
Faced with that possibility, what can photography do?

From "Hong Kong’s Wallpaper" to Urban Archive: The Fate of Neon Signs

It is said that at their peak in the 1980s, there were more than 100,000 neon signs in Hong Kong. Today, fewer than 400 remain.

The giant neon signs that once defined Hong Kong’s nightscape have gradually disappeared due to safety regulations, urban redevelopment, and the shift to LED signage.

British photographer Keith Macgregor, who worked as a furniture dealer, spent the 1990s and 2000s capturing Hong Kong’s night scenes through his lens.

At the time, neon was not a special subject for preservation in his eyes. Rather, it was part of the everyday backdrop—a kind of urban "wallpaper."

But as time passed, the meaning of those photographs changed. Regardless of the photographer’s original intent, as the subjects themselves disappeared from the city, the photographs became an archive in retrospect.

The "Neon Aesthetics (霓虹美學)" of Taiwanese Streets

The idea of neon as more than just signage—as a repository of urban memory and culture—exists in many East Asian cities. In Taiwan, several terms have emerged in recent years to describe the nightscape and signage culture.

For example, 霓虹美學 (níhóng měixué), literally "neon aesthetics." This phrase, found in magazines, exhibitions, and design discourse, reflects an appreciation of the colors and atmosphere neon brings to the city as an aesthetic object.

Another term, 霓虹燈文化 (níhóngdēng wénhuà), meaning "neon culture," is used in the context of re-examining the neon that illuminated bustling commercial districts in the 1980s and 90s as part of the city’s cultural heritage.

Finally, there is the term 台味 (táiwèi), meaning "Taiwanese flavor." This phrase is often used to describe not orderly cityscapes, but rather the eclectic, humid, and lived-in streetscapes. Neon signage, old shops, and the glow of alleyways are all part of this "Taiwanese flavor"—a truly evocative expression.

Why Japanese Neon Signs Are Being Reappraised Today

Once, neon signs were ubiquitous in Japanese cities. In the bustling districts, entertainment quarters, and shopping streets of the Showa era, illuminated characters shaped the very face of the city at night.

Signage was not only advertising, but also an integral part of the nocturnal urban landscape.

However, since the advent of LEDs, neon signage has rapidly declined. Maintenance challenges, a dwindling number of artisans, costs, and regulations have all contributed to what is now considered an endangered art form in Japan. The once-ordinary glow is now becoming something special.

In recent years, there has been a surge of renewed interest in Japanese neon signs from abroad.
Indeed, walking through the city today, you’ll notice more new establishments sporting neon or neon-style LED signage. Restaurants and shops in Tokyo and Kansai, youth-oriented boutiques, and commercial complexes in Shibuya—here, illuminated letters and symbols are once again enlivening spaces, albeit in forms distinct from the neon of the past.

Rather than simply recreating the past, there is a movement to reinterpret its sensibilities through contemporary design. Instead of restoring old lights as they were, they are being reimagined to suit the sensibilities of today’s city.

What "Newtro" and City Pop Illuminate

Underlying this trend is the "Newtro" sensibility that has spread in Korea. "Newtro"—a portmanteau of "new" and "retro"—can be translated as "new nostalgia."
It is a cultural movement that reinterprets the past through a contemporary lens, creating new appeal not by restoring the old as it was, but by reimagining it for today.

In Korea, this Newtro trend has led to a growing number of restaurants and commercial spaces incorporating neon elements.

The connection to music is also significant. In recent years, Japanese city pop from the 1980s and 90s has been rediscovered in the West, and this trend has spread to Korea as well. Night highways, urban solitude, dazzling signage, and slightly melancholic melodies—the urban imagery evoked by city pop is perfectly complemented by neon lights.

80s-style city pop sung in Korean and visuals referencing Japanese nightscapes are also illuminated by neon. Neon is not only a feature of the urban landscape, but also an image replayed in music, memory, and film.

To Ensure the Light Before It Fades Is Not Just a Backdrop

Photographers are often drawn to what is vanishing from society as times change. As with the photographs of Hong Kong’s neon signs, the role of photography can be redefined over time. After something disappears, the value of what was captured in the image becomes apparent.

Neon signage is text, color, and traces of life pasted onto the city’s surface. When that light is gone, what will we remember? Photography may be one way to prepare for that question.

May the neon lights of Japan never fade. Let us not reduce the light before it disappears to mere background. From there, the neon aesthetics that breathe life into Asian cities will surely come into view once more.