目前日期文章:201212 (35)

瀏覽方式: 標題列表 簡短摘要

 

《轉載soul運動誌》三村仁司──聆聽運動員心聲的「鞋神」


 

 

 


‧SOUL運動誌 2012/12/22

 

頂尖運動員的腳下所踏,絕不會是雙平凡的鞋,如何製出一雙能夠帶著他們超越極限的好鞋,「鞋神」三村仁司的答案簡潔卻又深邃:聆聽。

 

 

 

 

 


【編整/陳穎】

 

 

 

 

 

 

〈SOUL運動誌/提供〉

 

 

64歲的三村仁司投入製鞋產業長達46年,在日本擁有「鞋神」的美譽,一輩子都在為運動選手製鞋,從鞋體的設計、素材的研究,關於運動鞋的一切他無一不透徹,為頂尖選手們手工打造的訂製鞋,總能協助他們攀上顛峰──馬拉松選手高橋尚子、野口水木、木崎良子;足球選手香川真司;棒球選手鈴木一朗、青木宣親,都是這位一代名匠鞋品的愛用者。
 


投入製鞋的契機

詹偉雄(以下簡稱「詹」):您高中時是一位跑5000公尺的運動員,能否請教您當時的成績如何呢?

 

三村仁司(以下簡稱「三村」):那時大約是1962年左右,我記得當時我跑5000公尺的紀錄大概是15分35秒,當然如果是下雨天就絕對不可能有這麼快。這樣的成績離最後一名還有一點距離,算是還可以的。
 


詹:為什麼會從一名長跑選手,在高中畢業以後轉而進入製鞋這個產業呢?

 

三村:高中當選手時,我的鞋子大概每兩個禮拜就會破掉,因為那時的鞋子不像現在這麼堅固,所以每次練跑後經常會有破損,幾乎是每兩週就得請媽媽幫忙縫補。那時的學費並不像現在這麼貴,但是一雙鞋就蠻貴的,所以算起來求學過程中買鞋的費用,加起來可能都還比學費還要高。當時的我真的很想要一雙堅固耐用,可以跑得比較久的鞋,也就是那個時期我開始思考:「是不是自己可以去做一雙鞋?」也就因為這樣的契機,讓我萌生了未來要進入運動用品產業的想法,後來畢業後也順利投入運動鞋的製作與開發這個領域。
 


傾聽「想贏」的心聲

詹:設計、生產或製造一雙鞋子,除了您身為一名運動員的體感之外,還需要哪些知識和技術呢?

 

三村:我覺得一個專業的製鞋者,最重要的就是一定要去傾聽選手的心聲,協助選手達成想要達成的紀錄,去追求他們想要的好成績。製鞋當然需要技術,但如果只是單純依據選手感覺的鞋底厚薄、鞋體輕重,完全聽從選手的要求去做調整,沒有真正聽到選手「想要贏」的心聲,那只是一般的製鞋者。
 


當然技術層面的學習也是必要的,從我進入業界後,花了大概五年的時間學習製鞋的技術,也花了三年的時間在製鞋研究室裡研究,要怎麼樣才能讓鞋子的緩衝性、反彈力更佳,還研究了製鞋的素材,用各種方式讓鞋子變得更輕盈。我也是在經過這些歷程後,才開始知道真正的「選手心聲」。當你擁有技術,聽到選手想要怎樣的鞋後,腦中自然會會浮現一個對那名選手來說的最佳組合,對我來說這才叫真正的專業。
 


詹:三村先生還記得當初找您傾訴「心聲」的第一位選手是誰嗎?

 

三村:1968年墨西哥奧運時,為君原健二等三位日本馬拉松選手製鞋,是我第一次透過製鞋來傾聽選手的「心聲」。在這次奧運之前日本的馬拉松運動發展曾稍稍停頓了一下,那屆奧運對這些選手和日本的馬拉松運動來說都相當重要,君原健二後來也在馬拉松賽事裡獲得銀牌。
 


量身打造的特殊跑鞋

詹:製作馬拉松選手的跑鞋,與製作其他運動員的鞋子比起來,最大的不同是什麼?

 

三村:馬拉松這項運動,要在短短的兩個多小時裡,就把你的力量跟鍛鍊的成果,全部一鼓作氣的展現出來,所以它的跑鞋所追求的,跟一般跑鞋及其他運動的運動鞋不太一樣,在耐用性上不會比其他的運動鞋好,因為它就是專門只針對那兩個多小時的時間來做使用。之前曾經有人問過我,馬拉松跑鞋的重量是不是越輕越好?根據我的經驗,一味的追求鞋體的輕量化,反而沒有辦法讓選手發揮最佳速度。以馬拉松選手來說,會希望鞋子的鞋底比較薄也比較硬,我們都會針對這樣的需求去做特別的調整。
 


詹:2000年雪梨奧運時高橋尚子這位小個子的日本女生拿到女子馬拉松項目的金牌,能否請三村先生分析一下她的鞋子有什麼特別之處。

 

三村:高橋尚子其實有161公分,當初製作她的跑鞋時,最主要的問題在於體重。2000年的3月12日她在奧運選拔賽的名古屋國際女子馬拉松獲勝時,體重只有45公斤。以她的身高來說,這是跑馬拉松時的最佳體重,但到了5月18日她來找量製鞋子時,體重已經增加到58公斤,足足增加了13公斤,和當初在奧運選拔賽奪冠時的體格大不相同。
 


人的體重變重之後腳也會增大,所以穿的鞋也相對要變大,而為了參加奧運高橋尚子得減重,因此在訓練期間腳的大小會有變化,每隔一段時間腳型就會不太一樣。在奧運前她得密集訓練,訓練時必須有雙好的練習鞋才能夠有好成績,所以當時我在短短的三個月內就為她做了四雙鞋,這樣密集的手工製鞋,實在是一個辛苦又特別的經驗。
 


詹:在製作高橋尚子的鞋子時,三村先生還有下過哪些功夫呢?她的鞋子是不是還有其他的秘密存在?

 

三村:高橋尚子的腳有長短腳的問題,5月18日我測量時,右腳是25.25公分,左腳則是25.75公分,右腳足足比左腳短了0.5公分。所以在她跑步時,你可以發現她的右腳可以跑直線,但左腳就會稍微偏離,這樣跑下來很容易會導致受傷。1999年世界田徑錦標賽時,她就曾因此出現傷勢,當時我還在現場幫她按摩。也因此在奧運會正式上場前,高橋尚子跟她的教練都很希望能避免再度發生受傷的情況,除此之外她也提出不少需求,期間我們進行了許多次的討論與修正。
 


從1999年開始我就跟高橋尚子合作,製作她的鞋子可說是賭上我與公司的名聲,如果今天新聞報導高橋尚子是因為穿了我做的鞋而表現不佳,一定會影響到我的事業和自己本身。雖然製作她的鞋遇到不少困難,但我做事情的態度就是一旦接手了就會負責到底,後來她也能感受到我這樣的堅強信念,就沒有再提出更多的要求,變得相當信任我。
 


跑馬拉松對選手來說是一項負擔相當大的運動,對選手來說最重要的是鞋子的合腳性,運動時的機能性與緩衝性,我對此都特別深入研究,去為選手打造一雙好的鞋子。高橋尚子的鞋子不管是鞋底或者鞋內的各部份,都是特別為她量身打造的。像是她的右腳不是比較短嗎?我就在她的右腳鞋子加了一層薄薄的泡棉,讓她的兩腳能夠平衡。我以堅強信念做出來的鞋子,能夠協助選手達到她的最佳成績,高橋尚子就曾跟我說,正因為我幫她做了這樣的鞋,所以讓她在訓練與比賽時變得相當輕鬆。
 


頂尖選手的足下秘密

詹:手工製作的話,鞋體有使用了哪些特殊材質嗎?

 

三村:這雙是木崎良子的鞋子,你可以發現它的鞋子比較薄一點,還有它的鞋底相當的硬,這是為了跑馬拉松所以才會這樣設計,現在的馬拉松選手,像是剛剛講到的高橋尚子,他們的鞋子也都會是這種感覺。
 


之所以會做這樣的改良,主要的原因在於跑馬拉松加快速度時,那個衝擊力會讓我們的身體感到非常的疲累且不舒服,所以我對此特別在素材和設計上下功夫,讓選手在穿著時能夠更舒適。另外,這雙鞋的材質有防水的功能,止滑的效果也非常好,倫敦奧運比賽時突然下了大雨,就是因為有這樣的材質所以不會產生打滑的現象。
 


詹:你幫很多優秀的運動員製作鞋子,這些優秀的運動員,他們有什麼樣共同的特質嗎?

 

三村:我製鞋最重要的信念,就是一定要感受到選手是真的很認真地想在比賽中獲勝,他是真的很希望自己可以變得更強、跑得更快,只要我感受的到選手這樣的心情,就願意幫他們製鞋。大部分的選手來找我,都是想針對自己比較弱的點做加強,我所能夠協助的,就是去找到他們姿勢上有異的地方,找到原因後在鞋子上微調,以避免他們受傷。但是鞋子做好後,選手們在跑步上的調整,還是得靠他們自己本身。
 


我覺得這些選手都是為了讓自己能夠更往前進、更往上爬,才會想要去改善自己的弱點,通常有這些特質的選手就會是頂尖選手,因為他會不斷地去改進自己。鞋子的調整當然可以幫助選手的表現,但是有一些身體上的調整,像是右腳和左腳踏出去的那一瞬間、跑步時的施力點,還是需要選手自己去調整,才能夠有更好的成績。
 


持續朝向夢想前進

詹:鈴木一朗是什麼時候開始去找三村先生設計鞋子的?

 

三村:鈴木一朗在歐力士隊時,他的經紀人不知道從哪裡聽說我的事情,請他來找我,我就是從那時開始幫鈴木一朗製鞋的。鈴木一朗對鞋子的要求重點是「輕」,希望能夠越輕越好,因為他想要在短距離的跑壘中追求最快的速度,期望能夠跑得更快製造更多的內野安打。
 


後來我一直幫鈴木一朗製作最適合他的鞋子,甚至有時他還會邊開車邊打電話,跟我討論他的需要。2005年時,有其他廠商開價日幣16億圓,希望能夠跟他簽約,讓他穿這家廠商的鞋,但鈴木一朗卻婉拒了,他說他還是要跟我合作。真是個傻瓜啊!人家捧著16億日圓來,他竟然只是為了穿我做的鞋子而拒絕了。
 


詹:您對鈴木一朗這名球員的評價如何呢?

 

三村:鈴木一朗從小就想要成為一名職棒選手,他是一個擁有強烈夢想的球員。從小學開始他就和父親練習傳接球,到打擊練習場練打時速130公里的球,甚至在上學或放學途中,他也會透過記住移動車子的車牌號碼來鍛鍊動態,持續不斷的進行訓練。
 


鈴木一朗是一個非常清楚自己要什麼的人,所以他從小就持續努力到現在,其實他的成就來自於背後許多流淚做的艱苦訓練,正因為有這些辛苦,才有辦法達到現在的成就,我覺得他真的是一個非常棒的球員。我在簽名時都會簽下「夢想」這個詞,也是希望大家都可以像鈴木一朗這樣,持續朝著夢想前進。
 

 


【完整內容請見《SOUL運動誌》2012年12月號】
 

大景堂 發表在 痞客邦 留言(0) 人氣()

  • Dec 22 Sat 2012 00:26
  • DRUMER

J1-lux_small-600x709  J2-lux-drummer-600x463  

copyright, Loretta Lux

Part of her haunting and surreal Works IV, The Drummer (although overall very flat) was made with 6 lights. Sometimes you need a lot of light to make it appear that you don’t.

Camera: Nikon D2X with 50mm lens, set on tripod 8 feet from child. Shot at 1/60, f8, ISO 100.

Lighting: Since Loretta’s goal is to create an uber-flat image, no key lighting exists. All of the lights are used to flatten the child’s skin tones, while leaving a hint of shadow (under his chin). 2 white umbrellas at f5.6 1/2 are six feet to both camera right and left, and 4 feet above the boy’s head. 2 normal reflectors on a light tree at f4 1/2 are bounced into the white side of a v-flat behind camera, just to the right. Another 2, with the exact setup, are just to the left. This helps to fill most of the shadow.

Comments: For lunch, the caterer served fish sticks, chicken strips, carrot strips, apple strips and ketchup. The boy had been beating like a maniac on the drum, but stopped abruptly, here, when Loretta told him her real name is

大景堂 發表在 痞客邦 留言(0) 人氣()

D1-bedroom_fall-600x447  D2-BEDROOM FALL-fullerton-batten_bedroom-600x463  

copyright, Julia Fullerton-Batten

Here’s one image from Julia’s “in between” series (really provocative series of women not exactly falling). My guess is that she used 3 lights to make this image.

Camera: Hasselblad H4 with 50mm lens and Hassy digital back, on a tripod 8 feet from the falling model. Shot at 1/250, f11, ISO 100.

Lighting: The key light on the model is an Elinchrom octabank at f11, up high and to the left of the model, out of frame, pointed downward. A small softbox is boomed high and overhead of the bed at f11, creating that nice highlight in the middle of the duvet cover. Another small softbox is boomed high over the chair at the right of the image, also at f11. By using only these 3 lights in such a large room, the absence of light in the other areas helps bring emotion and focus to our falling woman.

Comments: This image was shot after lunch where Julia finished half of a tuna fish sandwich and a green tea. The model, a trained stunt woman, actually launched herself into the air and fell for each take. Just before hitting the ground, she spun around and landed on her feet just like a cat would, to much applause.

 

大景堂 發表在 痞客邦 留言(0) 人氣()

C1-jill-greenberg-end-times-small-600x714  C2-JILL greeberg-baby-600x463  

copyright, Jill Greenberg

Jill’s “end times” series of crying babies is certainly polarizing. You either want to call child services or get down on your knees and bow to her genius. This particular sobbing infant had 8 lights strobing all around her.

Camera: Mamiya RZ with 140mm macro lens and Phase One P25 digital back on tripod 6 feet away. Shot at 1/125, f8, ISO 100.

Lighting: There is not exactly any key lighting, but lots of layering, instead. A white beauty dish at f8 is three feet in front of and above the camera. A ring flash at f5.6 is is three feet in front of and below the camera. Two white umbrellas, both at f5.6 are to the left and right of camera. A small soft box without a baffle at f16.5 is boomed overhead of the baby. Two heads with normal reflectors and grids at f16.5 are behind and above the model from both the left and right sides, creating the hair and shoulder highlights. Another head with normal reflector and grid at f11.5 is positioned behind the baby and aimed at the background to create the glow. The lighting gives the basis for this cool effect, but Jill also uses lots of brushwork in Photoshop to accentuate the highlights and shadows and to give some extra smoothing.

Comments: Everyone on set sucked on lollipops while the girl sat in front of the camera. It was so unfair, she cried and reportedly gave Jill the finger.

大景堂 發表在 痞客邦 留言(0) 人氣()

B1-disney-dream-small-600x409  B2-DISNEY-leibovitz-tinkerbell-600x463  

copyright, Annie Leibovitz

This image featuring Mikhail Baryshnikov as Peter Pan, Gisele Bundchen as Wendy and Tina Fey as Tinkerbell is part of the “dream portrait” series for Disney theme parks. My guess is that Annie used only 2 (albeit, big-ass) lights for this shot.

Camera: Hasselblad H1 with 50mm lens and Phase One P30 digital back, on a tripod 10 feet back. Shot at 1/125, f11, ISO 100.

Lighting: The drama created with the lighting is achieved by the “less is more” philosophy. One Profoto 6 foot giant parabolic umbrella reflector at f11 is boomed over Mikhail and aimed down towards his head. Another one, also at f11, is boomed over and slightly behind Gisele and pointed down at her head. This setup allows for beautiful, soft lighting on the faces while letting most of the room drop off. The scenic skyline out the window was put in in post. As was tiny, glowy Tina Fey.

Comments: This was a tough shot to pull off. For authenticity’s sake, Annie set a 3:30AM call time and required the entire crew to wear bedroom slippers. Plus, Tina kept making fart noises from behind the window just as Mikhail “landed” in the room.

大景堂 發表在 痞客邦 留言(0) 人氣()

a1-GAGA-lachapelle1-600x852  a2-GAGA-lachapelle-gaga-600x463  

copyright, David LaChapelle

Lady Gaga covered in bubbles shot for the cover of Rolling Stone. Very pink, very LaChapelle and created with 7 light sources.

Camera: Mamiya AFD3 with 80mm lens and Phase One P65+ digital back, hand-held, ten feet back. Shot at 1/60, f8, ISO 100.

Lighting: The somewhat flat, frontal light is created with a large soft box at f8 five feet directly above camera and angled down. A medium strip bank at f5.6 resting on the the floor in front of the camera and angled up provides the fill. Two, bare Kino bulbs are staggered to the Lady’s immediate left and another two to her right. A magnum reflector with diffusion at f16.5 is positioned low in the doorway pointing toward her back (this creates the glowing hair and bubbles and adds some nice, softening lens flare).

Comments: Unsure whether Lady Gaga would enjoy or loathe listening to her own music while shooting, La Chapelle made the smart decision to hire a bagpiper from bagpiper.com. He played all the traditional favorites. The floating bubbles were hand-blown by two non-smoking assistants. After the shoot, Lady Gaga left the studio wearing the bubble outfit (she wanted to show her book club) where she was, ironically, photographed by a pack of paparazzo.

大景堂 發表在 痞客邦 留言(0) 人氣()

klein-dolce-ss2008-600x450  1-1-577304_10150722008937171_521752170_9411062_1818943340_n  

CAMERA:120 CAMERA.50MM LENS AND KODAK PORTA 400 NC FILM,SET ON A TRIPOD 10 FEET BACK AT 1/250,F8,ISO400.

MAIN LIGHT: a giant parobolic reflector at f8 sitting high and directly behind camera.

a white beauty dish at f11 with a full CTO gel is boomed in from camera left directly over the group head.This gives the cool(looking)warm highlights on their hairdos.

their also had some industrial fog machine on set to accentuate the color light's dramatic effect.

 

大景堂 發表在 痞客邦 留言(0) 人氣()

kander-morsi_timemag  nadav-morsi-time-600x463  

camera:medium format ditatal back,100mm lens,on a tripod 6 feet back.

1/125,f8,iso50.

key light:2 small softbox(outer baffle removed to increase specularity)at f13,placed 3 feet to either side of subject and slightly behind it.

this placement creates the sharp highlights on his cheeks but also manages to fill hte front of his face.It also keeps away any reflection from his glasses.

2 white umbella at f5.6 are aimed at the seamless from the right and left sides to create a flat background.

the shadow behind subject's head is added in post.

大景堂 發表在 痞客邦 留言(0) 人氣()

olaf_hope_5-600x426  olaf-hope-couple-600x463  camera:on a tripod at 11 feet.F11,1/30SEC.

SMALL SOFT BOX F13 OVER MAN'S HEAD,slightly frontal on his face.

medium softbox f8,set high,3 feet to camera left aimed at his head,providing fill.

small softbox f11 over woman's head,slightly frantal,just to her right.

small softbox f11,hidden behind her opposite wall aimed at her head.

large octabank f8 is high and 6 feet to camera left as whole fill. 

大景堂 發表在 痞客邦 留言(0) 人氣()

_w8-ex2-3064  

大景堂 發表在 痞客邦 留言(0) 人氣()

 

大景堂 發表在 痞客邦 留言(0) 人氣()

_w-fnl3_3067 _w-fnl2_3079 _w-fnl2_3031a _w-fnl_2977a _w2-fnl2_3031a  

大景堂 發表在 痞客邦 留言(0) 人氣()

 

主燈:八角柔光罩由上朝下

f5.6-4

ringlight光量為主燈之三分之一或十分之二,為副燈.若主體為黑膚須增三分一光量.

下方補一beauty dish;光量為主燈之半(或三分之一)

大景堂 發表在 痞客邦 留言(0) 人氣()

[url=http://www.flickr.com/photos/aubrey-image/8252787832/][img]http://farm9.staticflickr.com/8481/8252787832_71d9697490_m.jpg[/img][/url]
[url=http://www.flickr.com/photos/aubrey-image/8252787832/]hollande[/url] by [url=http://www.flickr.com/people/aubrey-image/]aubrey9[/url], on Flickr
這是今年六月歐蘭德委請depardon拍的總統官方照.
動機與淵源正如前述,歐蘭德為呼應其競選口號與左派特質而特挑的風格.

未料公佈後,惡評如潮.
報紙公評說歐蘭德於照中像煞銀行經理或皮鞋店推銷員還算是客氣的.
老百姓的評論可惡毒了(要知,法國民眾的攝影素養可是獨步天下的)
節錄如下:
“This is not the picture of a President, this is a picture of a guy in a garden.”
 
“The garden is empty and helpless.”
 
“The Elyseé seems made of paste-board, the buildings pale and far, the flags of France and Europe overexposed, and faint.”
 
“Nobody recognizes the Elyseé, this photo could have been taken anywhere.”
 
“Hollande seems far, far away, as if lost in this garden.”
 
“I fall into the great void that surrounds our President, as he turns his back resolutely and nonchalantly on the minuscule flags.”
 
“Why the devil have one arm longer than 'other? And the right longer? (Is it) to ward off evil or just stress that, in life, having a long arm is a guarantee of success? What a joker this photographer is!”
 
“Presidential portrait? Ridiculous suit, looks pinched, drab colors, without grandeur.”
 
“I would have preferred a picture of a "normal" President in his library.”

依我之見, depardon這回算是失手----他的風格與王公將相差太遠了.

大景堂 發表在 痞客邦 留言(0) 人氣()

_WEB-FNL4_2103 _WEB-FNL_2109 _web4-fnl2-2050 _web4-fnl_2054 _web2-fnl2_2101  

大景堂 發表在 痞客邦 留言(0) 人氣()

«12