2012 Book

by admin on January 26, 2012

My book for 2012 has arrived! Check it out – I made a short and simple timelapse going through each page.  Actually I messed up a bit and actually missed turning some pages, so if you want to see the whole thing, you’ll have to catch up with me in person!

Thanks to the people at Memo Production for the fine quality book. I shot these photos with my D700 on interval, using a Profoto D1 to light it (see how consistent the light is in each shot? This is where speedlights fall flat)

Anyway, hope you enjoy it!

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Noh Masks

by admin on January 25, 2012

I can’t remember whether I posted these before, but I found these photos kind of hibernating on my hard drive, and thought I might put them up for the world to see.

A year or so ago I did a shoot with friend and model Yamaguchi Akiko based on the theme of the Japanese art of Noh. Noh is a very restrained form of theater; it’s extremely strict and very centered on tradition, with next to no room for introducing modern theater elements. Watching it, one would be forgiven for thinking that nothing much was happening – it does indeed appear to move at glacial speed.  An entire play can pass with you being mystified as to what happened, so it’s definitely seen as a kind of entertainment primarily enjoyed by the elderly population.

Anyway, one major element of Noh theater is the masks that the main actors use to portray the character they’re playing. The crafting of these masks is an art and each one is skillfully designed to change expression with each subtle tilt of the head. As such, they make great subjects for lighting. The two masks that Akiko is holding below actually represent the duality of the female character – in actuality they are supposed to depict the same female lead. The mask Akiko is holding close to her face is meant to show the normal, beautiful side of the female character, whereas the evil, demonic mask she’s letting dangle by her side shows the same female character when she’s in a rage. I’m sure a lot of guys out there can see how accurate these two depictions of the same woman are ;)  Apparently the idea is that each these two sides are an intrinsic part of each woman, which is great because the masks are such a good visual aid for representing duality. Here are some of the shots below, and some lighting information:

Tokyo Photographer Irwin Wong, editorial photography (13)

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Tokyo Photographer Irwin Wong, editorial photography (15)

For most shots I just used an SB-900 in a large shoot-thru umbrella, but for times when I needed a little light to give detail to the luxuriant obi, or sash such as the one Akiko is wearing in the photos above and below, I used another speedlight with a Honl bounce card dialed in just enough to bring out the detail and nothing more.

Tokyo Photographer Irwin Wong, editorial photography (14)

Tokyo Photographer Irwin Wong, editorial photography (2)

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Tokyo Photographer Irwin Wong, editorial photography (8)

Tokyo Photographer Irwin Wong, editorial photography (6)

In the two shots below the mask Akiko is using belongs to the cheeky old man character, so it doesn’t really below to the female duality series. We managed to have some fun with them though. It really is amazing how different lighting brings out different expressions from each mask! I definitely count myself fortunate to have had access to these masks.

Tokyo Photographer Irwin Wong, editorial photography (4)

Tokyo Photographer Irwin Wong, editorial photography (3)

 

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New Strobist Blog Post

by admin on January 23, 2012

My newest blog post on Strobist.com is up! This time I talk to Japanese editorial photographer Ono Shouichi about his amazing project to photograph 200 Japanese centenarians.  Read about it here.

Also – he as iPad apps for the project, one of them is free, and the other one is only 99c!  Go grab them here and here.

Image copyright Ono Shouichi, 2012

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The Captain

by admin on January 21, 2012

This is Captain Toyohiko Tomioka, the captain of the Tokyo Fire Department’s Hyper Rescue Squad, which is the most elite emergency response squad in the country. Considering these guys have to be in a state of constant readiness due to the fact that a devastating earthquake could strike Tokyo at anytime, Tomioka’s men are certainly the best of the best. Their headquarters are in Tokyo but they are on call to respond to any crisis that requires their expertise around the entire nation.

March 11, 2011 – Japan gets hit by the triple body blow of a magnitude 9+ earthquake, devastating tsunami and a nuclear disaster. If ever there was a need for these guys it was right then. Tomioka and his squad are the first on the scene at the stricken Fukushima No.1 nuclear plant, which had reported problems with shutting down and was now experiencing overheating. Everyone knew the situation was bad, but at that time no one knew exactly how bad. Tomioka’s team undertook the dangerous job of pouring seawater into the unstable reactor to bring the temperature under control.

When finally the facts came out it turned out that several of the reactors had indeed suffered a meltdown on March 11, and it was only through the rapid and tireless intervention of Tomioka’s squad that prevented the situation from spiraling further out of hand.  Without his efforts, at the very worst a large scale explosion could have occurred, at the very least much larger populations would have had to be evacuated as the condition of the reactors worsened. These guys are heroes in every sense of the word.

Which is why they received the Fundacion Principe Asturias Award recently – which is the highest honor one can receive from the Spanish Royal family. The award was given collectively to the ‘Fukushima 50′, meaning the fifty brave men and women in Tomioka’s squad, but he himself was chosen as the representative to receive the award. Here he is photographed for Spanish magazine XL Semenal at his Headquarters in Tokyo.

Tokyo Editorial Photographer Irwin Wong | Commercial photography, the murder (1)

Tokyo Editorial Photographer Irwin Wong | Commercial photography, the murder (3)

Tokyo Editorial Photographer Irwin Wong | Commercial photography, the murder (2)

Tokyo Editorial Photographer Irwin Wong | Commercial photography, the murder (4)

Tokyo Editorial Photographer Irwin Wong | Commercial photography, the murder (5)

Those hoses you see in the background of the shot above are the ones used to cool the reactors in Fukushima. Capable of putting through several tons of water a minute. Pretty crazy stuff, right?

 

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Vignettes of a life with you | No. #1 and 2

by admin on January 16, 2012

Here’s another new side project that I’ll be doing throughout the year from now on.  Many of you probably know that I now have a fiance, a real one this time, and seeing as I’ve decided to spend the rest of my life with this person, heck, I may as well turn it into another project.

‘Vignettes of a life with you’ is basically an excuse for me to mess around with different ways of presenting the shots I take of my fiance.I originally shot the photos with my Bessa R4a rangefinder, 40mm f/1.4 and Kodak ISO 100 Ektachrome, and was trying a whole bunch of things the other day to try figure out a good way to digitize/scan the images without actually buying a good scanner. So, I made a film ‘holder’ out of two bits of black cardboard that I glued together and used that to hold the film while I shot each frame with a D700, zoomed in 24-70 and an SB900 + umbrella in the back to act as a ‘lightbox’. So, technically, even though I shot used natural light for the actual shots, I still photographed each frame with flash ;)  Habits are hard to break I guess.

Anyway,  considering that I couldn’t get any closer (don’t have a macro lens), the shots basically ended up with black borders like you see below. The rest was cropping it to a square and cleaning up the rough edges in photoshop. Here’s a shot of the setup, taken on my iPhone. As you can see it’s not a very sophisticated setup; just an umbrella and a DIY bit of cardboard clamped in place.

So, these will be popping up one at a time for the duration of this year (and maybe more), so I hope you enjoy them! Also, let me know what you think of the process. I’m sure there are better and more intelligent ways to do what I’m doing.

Vignette No. #1

Vignette No. #2

Tokyo Photographer Irwin Wong Portrait Editorial Commercial

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New Years Resolutions

by admin on January 10, 2012

Hey guys, just wanted to share a small side project that I did over the new year’s break with you. Kind of wanted to do something that involved new years some how so I went out on the cold winter streets with a clipboard, a brush and some paper and asked people to write a single kanji that signified their hopes and dreams for the year of the dragon. Lots of people refused, but some were quite obliging, and I have to hand it to Ikuo and Kiko, who after writing their own kanji helped me flag down other people.

If you live in Japan you’ll be well familiar with kanji but for those who have no idea, kanji is the pictograph-style writing system that is used in Japan and wider parts of Asia. The great thing about kanji is that while each single character can have several different meanings, the overall ‘feel’ of the character can be understood very easily. Thus, a writing a single character doesn’t simply mean one thing – the viewer has a very good idea of what the writer is trying to communicate, but also has the leeway to interpret the intended message for themselves.  If it sounds difficult to grasp don’t worry; it is difficult, but it’s also part of the beauty of the system too.

Tokyo Photographer Irwin Wong | Portraits editorial (1)

Ikue-san wrote 実 – minoru – which means to bloom/come into fruition/actuality. “A bit cliche, actually,” she admits. This could be taken to mean that she hopes that her goals and others’ will be realized this year.

Tokyo Photographer Irwin Wong | Portraits editorial (2)

Keiko-san wrote 続 – tsuzuku, zoku – which means to continue/series/stream. This may signify her desire to keep doing something from last year, or to stick with a project that she’s started recently.

Tokyo Photographer Irwin Wong | Portraits editorial (3)

Joanne wrote 写 – utsusu, sha - which means to project/describe/copy. She may want to project herself into what she does a bit better, or maybe she wants to spend more time in reflection, or perhaps she just wants to take more photos, given that the kanji is also part of 写真 – shashin – which means wait for it: photo.

Tokyo Photographer Irwin Wong | Portraits editorial (4)

Emi-san wrote 海 – umi – which simply means ocean. “I love the ocean,” she explains. She must want to go to Hawaii this year or something.

Tokyo Photographer Irwin Wong | Portraits editorial (5)

Asuka, my fiance, wrote 道 – michi, dou - which means road/the way/journey/moral teachings.  It can mean that she wants to find her way this year, or perhaps that she wants to stick to a course, or figure out what to do.

Tokyo Photographer Irwin Wong | Portraits editorial (6)

“I’ll write an easy one,” Yoshio-san says as he writes 力 – chikara, riki – which means strength, power, ability.  You can read into this many ways of course, as strength comes in many forms. Maybe he wants to be better at what he does, or needs to be strong enough to see something through this year.

Tokyo Photographer Irwin Wong | Portraits editorial (7)

Chiba-san, who was walking about with Yoshio-san, wrote 人 – hito – which means people/person. Perhaps he wants to be better with people, or maybe wants to meet more people this year.

Tokyo Photographer Irwin Wong | Portraits editorial (8)

Matsu-san wrote 結 – musubu, ketsu – which means to tie/bind/join together or fasten.  Maybe he wants to get married this year, or maybe he wants to bring something together – once again it’s easy to read several different meanings into this.

Tokyo Photographer Irwin Wong | Portraits editorial (9)

Shinpei-san wrote 先 – saki – which has the dual meaning to be in front/to be first/to precede/to follow.  Yes it’s very confusing but it works somehow.  Shinpei-san doesn’t elaborate on this but I’m sure he knows what he needs to be in front of.

Tokyo Photographer Irwin Wong | Portraits editorial (10)

Mana-chan wrote 笑 – warau – which means to laugh or smile. Given that she has such a lovely smile I hope that her year is full of them.

Tokyo Photographer Irwin Wong | Portraits editorial (11)

Shinpei-san (another one) wrote 極 – kiwameru, kyoku – which means extreme/to bring to an end/to persist /to succeed. This kanji has a ton of meanings, but my favorite one has to be to overcome your obstacles.

Tokyo Photographer Irwin Wong | Portraits editorial (12)

Kouhei wrote 貯 – tamaru - which means to save/to hoard/to pile up/to keep.  As he writes it he says “This one’s going to be realistic.” He’s probably thinking about money – perhaps I should make it my kanji for this year too ;)

Tokyo Photographer Irwin Wong | Portraits editorial (13)

And lastly, Kiko wrote 叶 – kanau - which means grant, answer. “May our wishes for this year be granted,” she tells me.  May they be granted indeed!

The camera and lens I used was a D700 with a 50 f/1.2 AiS, for the gear heads out there. All shot [gasp] without flash!

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Portrait: Arctic Monkeys

by admin on January 7, 2012

One more quick post – last year I had the opportunity to photograph the UK rock band Arctic Monkeys, who were part of the Fuji Rock lineup that season. They’re pretty famous for getting their big break on Myspace – now they obviously tour the world so it was great to have the opportunity to meet and shoot them for AERA.  The press management team gave me the usual ten minutes for the photo but I managed a three-light setup. There was a D1 + 60-inch shoot-thru umbrella behind me for fill-light, another Profoto D1 in a 24-inch softbox slightly camera right, plus an SB-900 and Honl grid right in front of the softbox to give the shadows a bit of an edge. This is something that I’ve been trying out a lot recently – putting a hard restricted light source right in front of a large, soft light source can really give you a lot of control over the quality of the shadows your light creates. Another instance where I’ve tried this technique was when I photographed my family here.

Anyway, thanks for stopping by and I’ll have some more up soon!

Tokyo Photographer Irwin Wong, Editorial portraits music photography, Arctic Monkeys

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John Nuzzo – Opera singer

by admin on January 3, 2012

Just a quick post today, but just wanted to talk about the random cool things that sometimes happen as a photographer – one of them is shooting a professional opera singer in a park while he’s singing. I think the whole park must have heard him – they have to be super loud to make sure their voices fill the entire concert hall – I can only imagine what other people must have been thinking as this beautiful, pure singing started ringing out throughout the grounds. Really neat, and a good reminder of why I got into this in the first place – which is to meet and photograph interesting people who are really good at what they do.

Lighting setup: When you have late afternoon sunlight filtering through the trees like this you really don’t need to much – lighting was an SB-900 in a Westcott 24″ softbox , camera right. I let the ambient light do most of the hard work. Lens was the Nikkor 135mm f/2 DC, for anyone wondering.

Tokyo Photographer Irwin Wong | Editorial Portraits John Nuzzo Opera singer

 

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The Murder…and Happy New Year

by admin on December 31, 2011

New Years Eve.  19XX. A bitter coldness creeps into the bones of those walking the streets on the last day of the year, forcing a deadening chill into the back of peoples’ minds, lurking like a sinister portent. On this day here in the city everyday life is overshadowed by the festivities concerning the changing of the calendar, as the realization that yet another year has slipped swiftly into the past sinks into the minds of many. New Years Eve. A time of reflection. A time to slow down and take stock. Unfortunately for some people however, today Death slows down for no one.

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (5)

Meet Charlie. Growing up all alone in the downtown mission, she’s pretty used to being able to take care of herself. ‘Never even saw your parents’, the old sister used to say, before she too left Charlie. Lung cancer, never smoked. The mission was demolished, the site zoned by the council to pave the way for a new office park, whatever that means, and Charlie ended up in an abusive foster home, which she ran away from after two months.  She drifted for a bit, scrounging leftovers wherever she could to stay alive before some kindly old Italian man took her in and gave her a job doing dishes at his restaurant, until the place burnt down in mysterious circumstances. Alone again, out on the streets, Charlie came to the one realization that would sustain her through the hunger and cold of the years to come: ‘You can’t rely on anyone,’ she said. You can’t rely on anyone, because they always left you for dead in the end anyway.

Twenty-four now, and she still lives by the truth of that precept – except today she knows she’s going to need some real help, because this time around Charlie’s gotten herself in a whole heap of trouble, and it’s the type that ain’t about to go away. Which is how she finds herself in the private suite of D’Angelo May, crime boss and de-facto mayor of downtown.
“You gotta help me Dee,” she says, her smoky sultriness infusing the already charged atmosphere with a sexy undertone. “They know that I’m the one, and they mean business this time around.”

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (2)
D’Angelo is young, but no ones gets to the top in this business without knowing that there is no free lunch.  He’s known Charlie for long enough and he also knows the trouble she’s gotten herself into, and this time there might not be any helping it.  ”Charlie,” he says. “What are you doing coming here. You know I ain’t in the charity business. This thing that you and I might have had before – you understand that I can’t let it get in the way of business right?”
“Dee,” says Charlie, a hint of desperation creeping into her voice. “You owe me.”

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (3)

D’Angelo isn’t about to contest this point. Charlie has definitely been an asset to his organization in the past, and the pair went back a fair way. Clinging to emotional ties however, isn’t what got D’Angelo to where he is today, and so he lapses into silence as he considers his other options.  For a while now the issue of Charlie had been weighing on his mind – she knew far too much about his operations, and even more troubling was the discreet friendship she kept with that cop. It was too risky keeping her around, and now the means for disposing of her had fallen into his lap. He didn’t even have to lift a finger. On the other hand – this was Charlie, but was it worth putting the whole business at risk just to pay back an old debt, no matter how big? The knowledge in her head, the reason why she was being hunted, could implode everything…

“Talk to me Dee,” Charlie’s voice comes cutting through his thoughts. “What do you say?”

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (6)

A long pause. D’Angelo looks troubled. A flicker of resolution crosses his face. “Come back in a couple of hours,” he says. “We’ll figure something out then.”
“Dee, I might not have a couple of hours. These guys are serious.”
“I got some things I need to take care of. Get your stuff together and come back in a couple of hours.”
“Goddamit Dee,” Charlie says. She stands up abruptly. “I hope I don’t regret this,” she says, sweeping out the door into the hotel corridor.
D’Angelo watches her leave in pensive silence.

Out in the cold Charlie slips into a payphone. Coins clunk into the slot as she punches a number in. D’Angelo might be prepared to help her but Charlie didn’t trust him that far, and besides, she was never one to hedge her bets. There was only one other person who might be able to help her out of her jam.

The phone was answered after two rings. “Dirk,” she says. “I need your help. Come meet me. Bring the package.”

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (7)
In a secluded park downtown Charlie meets her old friend Dirk in their usual spot. He hands over the package, which quickly disappears inside her bag.
“You don’t have to do this, you know,” Dirk says. “you can just get out of this game, you and I, we can go somewhere where they can’t find us.”
Charlie’s midnight curls sway with a short, vehement shake of her head. “Not this time Dirk. I’m in this too far and we both know it. They won’t stop until I’m dead, or I take them down. This package -” she pats her bag protectively, “- what’ll let me do that.”

Dirk stares at her with a look halfway between longing and anguish.  ”You didn’t have to get mixed up in this you know,” is all he says. “If you back out now, it won’t be too late.” His voice leaden with portent, like he knows something he shouldn’t. But Charlie doesn’t catch the drift. She looks back with a cool, bemused gaze. “I have to go through with this Dirk, and you know it. Thank you for everything you’ve done up until now.”

She checks her watch – thirty minutes to midnight. Time to go back to see D’Angelo. Gracefully she turns and starts up the hill towards the hotel. Looking back over her shoulder, coat flapping in the breeze, she calls over her shoulder “You won’t have to worry about me anymore after tonight, Dirk. Everything’s going to be put right again.”  And with a mischievous smile she adds: “Happy New Year, sweetheart.”

Dirk just stands there, his eyes lost to shadow, his expression unreadable, watching until she vanishes around the corner.

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (9)

11:50pm. Detectives Jamie Kirkwood and Dirk Tazelaar are called in to a crime scene. Downtown hotel, executive suite. Some broad got herself dead, no one knows how. The emergency call came from the room itself. Jamie may be a young be a young detective but he’s been on the streets long enough to know when things don’t add up. He flashes his badge at the CI outside the hotel room and they duck the tape to get a good look at the scene.

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (1)

Something definitely didn’t add up here. Jamie takes in the room with a quick sweep of his practiced eye. Blood on the wall, spots of blood on the bed. No visible wounds on the broad. No contusions on the neck to suggest strangling. No signs of a struggle. The paltry contents of her expensive bag scattered over the room. No wallet, no ID. An empty box. Robbery? No, this scene was too…strange to be a simple robbery.

“Something weird is going on here boss,” he says.  No reply.  Turning, he sees Det. Dirk standing over the broad, staring, face white as a sheet.  ”Boss? What happened? You know her?”
Dirk startles from his reverie. “No,” he replies.  ”Never seen her. Sure was one hell of a looker though.”

Jamie bit his tongue. In the short time he’d been working with Tazelaar, his instinct told him that things weren’t all they seemed with the older detective. Maybe he was on the take. Maybe he was mixed up with this broad somehow. Who knew. Jamie knew about the system of corruption that went deep in the downtown precinct, just as he knew he was powerless to stop it. What he knew he could do though, was help this poor lady find her killers, so that she might sleep a bit easier. That was what he joined up for. To make sure no one else had to go through what he had gone through. Absently he fingered the wedding band on his left hand.

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (8)

One thing was for sure though, the girl, whoever she had been, was one hell of a looker. You could tell that at a glance. What racket had she been involved in? Drugs? High class prostitution? None of those seemed to fit.

“What have you done, sweetheart, to get yourself killed right before the new year,” Jamie murmurs. “Why would someone possibly have a grudge against you?” Dirk is silent, his face impassive.

A more detailed sweep of the room reveals no further clues to the two detectives as to how she died. There was nothing for it. The broad would have to be taken down to the shop to find out exactly what did it in for her. As the CIs bag her, the clock ponderously chimes midnight, a death knell for the old year, and to things that will be forever lost with it. As Jamie steps out to make a call to central, Dirk kneels over to fill out the tag.

Tokyo Editorial Photographer Irwin Wong Commercial photography, the murder (4)

Name: Charlene NLN*

DoD: 12/31/19XX

For a moment he finds himself alone in the room with Charlene. “Good bye Charlie,” he whispers. “I hope whatever drove you to take on this crusade was worth it.” As the clock strikes twelve and the last sight of Charlene’s body is hauled out of sight, nothing is left inside but the relentless chill, and the fitfully shifting dust of the soul. “Happy New Year, sweetheart,” Dirk mutters. Turning up the collar of his winter coat, he stalks past Jamie into the cold of the night. “Happy New Year…”

*NLN = No Last Name

Tokyo Photographer Irwin Wong Commercial and Editorial Photography

 

Happy New Year everyone!! Wishing you all the best for 2012, the year of the Dragon!

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Motorhead + Carhartt

by admin on December 28, 2011

In my last post I mentioned that I was doing some photos for a Japanese car magazine called Motorhead – these guys are definitely doing some of the most creative and interesting stuff in the Japanese auto-mag world. Here’s hoping I have a chance to travel for one of their features soon. I’d like Finland please.

Anyway! The magazine and a certain apparel label called Carhartt were doing a special giveaway of specially-designed jackets bearing the Motorhead logo. Pretty expensive stuff, as the jackets themselves weren’t cheap, so I don’t want to imagine how much the custom logo was. No chance of me picking up a freebie this time, so I’ll have to be content looking at the promo images I shot for the magazine.  The model you see there is Andre, a good friend of mine – he’ll be appearing in other posts in the near future, I wager :D .  The car is a beastly V8 Range Rover, which was a joy to ride around in the whole day as spacious cars in Tokyo are at quite a premium.

Lighting-wise I used the combination of the Profoto small fresnel (kindly on loan from Profoto Japan) and the Photek Softlighter on a pair of Profoto D1s hooked up to a Batpac.  What a great combination – the small fresnel is a photographer’s dream accessory for restricting light – it has a closable iris that allows you to control the spread of light, and the fresnel glass front softens the edges of the light, giving it some really nice falloff.  In combination with the Softlighter, which is basically a massive octa, you can get some pretty cool results using the old key+fill two light technique.  I’ve put some shots and outtakes from the shoot in this post. Enjoy!

Tokyo Photographer Irwin Wong | Car photography, fashion, editorial (3)
Tokyo Photographer Irwin Wong | Car photography, fashion, editorial (6)

Tokyo Photographer Irwin Wong | Car photography, fashion, editorial (5)

Tokyo Photographer Irwin Wong | Car photography, fashion, editorial (4)

Tokyo Photographer Irwin Wong | Car photography, fashion, editorial (2)

Tokyo Editorial Photographer Irwin Wong | Cars, fashion, editorialTokyo Photographer Irwin Wong | Car photography, fashion, editorial (1)

Yes I know the English is wrong at the top (it should be ‘The World’s Greatest Custom Culture Magazine’), but they’ve fixed it for the next issue.  Too bad they didn’t consult with me before they made the jackets though.

 

 

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