2025-07-30

Mt. Mitsumine

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Chasing Light on the Slopes of Mt. Mitsumine・丘に溶け込む一本の木・三峰山での風景


Located at an elevation of 1,773 meters (5,816 ft), the slopes of Mt. Mitsumine (三峰山; Mitsumine-yama) rise as one of the taller peaks on the plateau of the Kirigamine Highlands (霧ヶ峰高原; Kirigamine-kōgen), about 210 km (130 mi) northwest of Tokyo. From Yokohama, it took me only three hours by expressway, thanks to leaving home at around 4:00 a.m., thus avoiding the morning rush hour.

Mt. Mitsumine is an extinct volcano formed during the Late Pliocene to early Pleistocene, roughly 1.5 to 0.75 million years ago. Unlike Mt. Fuji, it is not especially tall, which allows for the growth of lush vegetation. Still, tall trees struggle here, as the volcanic soil of these highlands makes it difficult for them to thrive.

This particular shot was a challenge. With the late-morning sun directly overhead, it was almost impossible to create separation between the small tree in the mid-ground and the rolling hills beyond. 

I couldn’t help but wonder: had I arrived at golden hour, would the low morning light from the right have cast shadows across the left side of the tree, adding the depth and contrast I was looking for? 

One day, I’d like to come back when the light shifts or the seasons turn to see if I can make this tree stand out from its camouflage in the hills.

  • Location: Mt. Mitsumine, Nagano, Japan
  • Timestamp: 2025-07-30・08:14
  • Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
  • 58 mm ISO 100 for 1/250 sec. at ƒ/5.6

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Dale-chan’s Break Among Bamboo Leaves

デールちゃん、涼しい高原でひと休み


Dale-chan, my loyal border collie, turned 12 this year. These days, even though she needs a little more time when we take on mountain trails, her spirit is as strong as ever.

The hike to the peak of Mt. Mitsumine was fortunately a gentle slope, and the cool summer air made it easier for her to stride ahead and show me the way.

Every so often she pauses to rest, and I’m always grateful for those quiet breaks together on the trail.

  • Location: Mt. Mitsumine, Nagano, Japan
  • Timestamp: 2025-07-30・08:16
  • Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
  • 95 mm ISO 100 for 1/250 sec. at ƒ/5.6

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From Mt. Mitsumine to the Utsukushigahara Highlands

三峰山から広がる、美しが原高原の眺め


From the peak of Mt. Mitsumine (三峰山; Mitsumine-yama), looking north, you can spot the highest point of the Utsukushigahara Highlands (美しが丘高原; Utsukushigahara-Kogen). At 2,034 meters (6,673 ft), its summit is crowned with numerous antennas that serve as relay towers for digital TV broadcasting, radio stations, and cellular networks across the region.

I previously visited the Utsukushigahara Highlands in August 2022, where I shared both photos and video from that trip. Standing here on Mt. Mitsumine and seeing those familiar peaks from a new perspective is a reminder of how interconnected these mountains are and how each visit reveals something different, depending on where you’re standing.

  • Location: Mt. Mitsumine, Nagano, Japan
  • Timestamp: 2025-07-30・08:17
  • Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
  • 105 mm ISO 100 for 1/250 sec. at ƒ/5.6

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Where Green Slopes Meet White Birch・三峰山の緑の斜面と白樺との出会い


Climbing down from the peak of Mt. Mitsumine, my eye caught a small grove of Japanese white birch (Betula platyphylla) clustered in a gully along the slope. Their pale trunks slightly stood out against the vivid green hillside, and I imagined how striking this view must become in autumn, when golden leaves contrast even more sharply with the surrounding greenery.

Japanese white birch (白樺; shirakaba) thrive across the Kirigamine Highlands of Nagano, flourishing at elevations around 1,500 meters. For some older Japanese, these trees evoke memories of highland recreation. After World War II, as outdoor leisure gained popularity, birch-lined resorts became symbols of sophistication and escape for urban dwellers. Nowadays, some birch forests promote themselves as ideal date spots, or a forest bathing destination.

Today, the highlands remain just as inviting, though far more accessible. Well-maintained roads, free parking, and modern attractions including museums, cafés, restaurants, hotels, and ski slopes make it easy for anyone to experience both the natural beauty of these highland landscapes.

  • Location: Mt. Mitsumine, Nagano, Japan
  • Timestamp: 2025-07-30・08:25
  • Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
  • 68 mm ISO 200 for 1/400 sec. at ƒ/4.5

References:

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Layers of Green: Mt. Mitsumine and Highlands of Nagano
長野県三峰山と霧ヶ峰高原の変わりゆく風景


In the foreground, the slopes of Mt. Mitsumine are blanketed with dwarf bamboo (Sasa kurilensis). Native to Japan, these hardy plants thrive in the cool-temperate forests of alpine elevations, particularly where winter fronts sweep in from the Sea of Japan, which is only about 98 km (61 miles) away due northwest.

However, in the context of the Kirigamine Highlands, which includes Mt. Mitsumine, dwarf bamboo tells a different story. After World War II, when grazing pastures for dairy cattle were abandoned, bamboo spread unchecked across the highlands, crowding out native grasses and wildflowers. Today, volunteers regularly cut back the bamboo to slow its expansion and encourage the recovery of native species.

In the background, the densely wooded slopes are dominated by sugi (Japanese cedar). Once prized as a key building material during Japan’s postwar reconstruction, sugi plantations now pose a different challenge. With cheaper lumber imported from overseas, many cedar forests are no longer economically viable. Left unmanaged, these monocultures limit biodiversity and make it harder for native plants, trees, birds, and wildlife to thrive in what would otherwise be a richly varied ecosystem.

Yet despite these environmental struggles, I still find this landscape deeply beautiful. The vivid greens of summer, the rolling contours of the slopes, and the stillness of the highlands offer me a kind of spiritual and physical relief from the relentless pace of urban life in Yokohama.

  • Location: Mt. Mitsumine, Nagano, Japan
  • Timestamp: 2025-07-30・08:30
  • Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
  • 68 mm ISO 200 for 1/400 sec. at ƒ/4.5

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© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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Kirigamine Highlands

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Summer Escape to the Kirigamine Highlands・夏の霧ヶ峰高原で涼を求めて


Located at an elevation of 1,550 meters (5,085 ft), the Odoriba Marsh (踊場湿原), which is known locally as Ike-no-Kurumi (池のくるみ), is one of three large marshes on the plateau of the Kirigamine Highlands, about 210 km (130 mi) northwest of Tokyo. From Yokohama, it took just three hours by expressway, thanks to a 4:00 a.m. departure that avoided the worst of the traffic.

The Odoriba Marsh consists of a bog with a peat deposit more than 2.5 meters (8 ft) deep, built up over the course of some 3,000 years. Because of this fragile landscape, it is essential that visitors stay on marked trails. Venturing off-trail can not only damage the ecosystem but also put hikers in potentially dangerous situations.

The marshes of Kirigamine are home to rare sub-alpine plants, including hygrophytes and three species of protected flowers. Until the 1950s, the surrounding grasslands were used for hay fields, leaving the habitat vulnerable to chemical fertilizers and mechanized farming. Fortunately, the highlands were designated as a quasi-national park in 1964, and the three marshes were later recognized as natural monuments.

Today, the plateau is a popular tourist destination with accessible hiking trails and sweeping views. On a clear day, visitors can see not only the rolling grasslands and moors but also Mt. Fuji and the surrounding Japanese Alps.

Since 2008, conservation concerns have grown due to woodland expansion and deer feeding on rare flowers. In response, the local community has stepped up efforts to protect the marshes. Fences now line certain trails to prevent accidental trampling of fragile plants, and deer tracking with transmitters helps determine where tall, discreetly placed fences can be installed to protect the ecosystem from deer and preserve natural views for visitors.

For me and my border collie, though, the appeal of the Kirigamine Highland was much simpler: escaping the sweltering heat and humidity of Yokohama. After weeks of slogging through sticky commutes, the cool breezes and lower humidity of the highlands felt like a refreshing breath of summer freedom!
  • Location: Kirigamine Highland, Nagano, Japan
  • Timestamp: 2025-07-30・07:04
  • Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
  • 45 mm ISO 100 for 1/400 sec. at ƒ/9
Links to sources and Google Maps:

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  • Location: Kirigamine Highland, Nagano, Japan
  • Timestamp: 2025-07-30・07:03
  • Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
  • 53 mm ISO 100 for 1/250 sec. at ƒ/5


Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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2025-07-16

Takanawa Gateway Station Part 2

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Timestamp: 2025/07/16・17:34
Fujifilm X100V with 5% diffusion filter
ISO 1000 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation

100 Colors at Takanawa Gateway
エマニュエル・ムホーが描く「100色の道」


Just outside Takanawa Gateway Station in Tokyo’s Minato Ward, French-born, Tokyo-based artist and architect Emmanuelle Moureaux’s 「100 Colors No. 53」 bursts into view the moment you step out of the South Exit.

This installation features vertical slats painted in 100 distinct hues, each engraved with a year from 2025 to 2125 covering 100 years of 100 hues of the rainbow.

Moureaux’s choice of layered slats echoes a point she made in a Japan Times interview earlier this year, where she explained how Tokyo’s urban landscape inspires her work:

“Moureaux uses the term ‘layers’ to describe the way Tokyo is built, where various different elements are layered one on top of the other in any given space. She says she draws inspiration from this abundance of colors and layers.”
--Ran Kawai, Japan Times, January 31, 2025

Before visiting Takanawa Gateway Station and exploring the emerging Takanawa Gateway City development, I knew nothing about this artwork nor the artist herself. So it was a pleasant surprise to come upon this installment, and learning about Moureaux.

I often travel to cities from Aichi Prefecture to Nagano Prefecture, but almost always for work, either accompanying a client or photographing a property for real estate listings. 

This time was different, as I left the pro gear, suit, and tie at home and set out with no agenda other than to explore. Wandering familiar streets with a fresh perspective is always rewarding.

Inevitably, I stumble upon something new: a tiny Shinto shrine, a Buddhist temple tucked between two high-rise condos, a new public artwork, or perhaps a cozy coffee shop run by a couple in their 80s.


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Timestamp: 2025/07/16・17:45
Fujifilm X100V with 5% diffusion filter
ISO 250 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation

If this scene speaks to you, prints and downloads are available:
Timestamp: 2025/07/16・17:47
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/40 sec. at ƒ/8
Velvia/Vivid film simulation

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Timestamp: 2025/07/16・17:47
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/60 sec. at ƒ/8
Velvia/Vivid film simulation

If this scene speaks to you, prints and downloads are available:
Timestamp: 2025/07/16・18:38
Fujifilm X100V with 5% diffusion filter
ISO 250 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation



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© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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Takanawa Gateway Station - Part 1

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  • “100 Colors No. 53” art installation just outside the South Exit of Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・17:33
    • Fujifilm X100V with 5% diffusion filter
    • ISO 3200 for 1/210 sec. at ƒ/9
    • Velvia/Vivid film simulation

A Century in 100 Colors: Emmanuelle Moureaux’s Takanawa Gateway Installation
エマニュエル・ムホーによる高輪ゲートウェイのアート作品「100色の道」で描く100年の時の流れ


The French artist and architect Emmanuelle Moureaux created this vibrant rainbow installation, 100 Colors No. 53, just outside the North Exit of Takanawa Gateway Station on Tokyo’s Yamanote and Keihin-Tohoku Lines, which is just one stop north of Shinagawa Station.

Moureaux, who has lived in Tokyo since 1996, based the 100 Colors Series on a concept called shikiri (色切), which means "dividing and creating space through colors." This piece, displayed in Gateway Park, is the 53rd work in the series. Previous installations have appeared in locations worldwide, including São Paulo (Brazil, 2021), Downtown Dubai (UAE, 2018), Brussels (Belgium, 2017), and Carnegie Mellon University in Pittsburgh (US, 2015), as well as sites across Japan.

True to its name, each piece in the series incorporates 100  colors. For No. 53, each vertical slat is engraved with a year from 2025 to 2125, symbolizing “the passage of time in 100 colors.”

This area was once home to the Tamachi Depot. Old satellite images from November 2014 show the depot in its final days before the massive Takanawa Gateway City redevelopment began. The project is transforming the rail yard into a modern urban district with a new train station, four high-rise towers, office and retail space, luxury residences, schools, and entertainment facilities.

When I visited, my plan was simply to check out the new station, explore the high-rises, and maybe capture a few street shots. I hadn’t expected to find this striking artwork at the base of two gleaming steel-and-glass towers, so stumbling upon it was a welcome surprise.

There’s something refreshing about visiting Tokyo as a tourist with my small, lightweight camera, rather than as a my normal salaryman carrying a briefcase and wearing a necktie. It changes the pace, the perspective, and the way I see the city.

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  • Lone salaryman passing by the “100 Colors No. 53” art installation at Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・17:54
    • Fujifilm X100V with 5% diffusion filter
    • ISO 160 for 1/150 sec. at ƒ/2.8
    • Velvia/Vivid film simulation

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  • Local office worker enjoying the splash pad at Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・18:37
    • Fujifilm X100V with 5% diffusion filter
    • ISO 400 for 1/250 sec. at ƒ/2
    • Velvia/Vivid film simulation

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  • Student walking past the splash pad at Takanawa Gateway Station in Tokyo, Japan
    • Timestamp: 2025/07/16・18:38
    • Fujifilm X100V with 5% diffusion filter
    • ISO 320 for 1/250 sec. at ƒ/2
    • Velvia/Vivid film simulation


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© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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Skies Above Takanawa Gateway

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When Airplanes Meet Architecture: Watching the Skies Above Takanawa Gateway
羽田空港に向かう飛行機とリンクピラー・ワン北棟の新しい都市景観


After taking in the vivid “100 Colors” artwork outside the recently opened Takanawa Gateway Station, the steady hum of airliners overhead quickly caught my attention.

I’m not an aviation enthusiast by any stretch, but I’m always drawn to aircraft in the sky above my neighborhood when out walking the dog, whether it be a U.S. Navy jet from NAF Atsugi, an army helicopter from Camp Zama, a commercial flight to and from Haneda Airport, or even the Fujifilm blimp that once drifted along the Shonan coastline (maybe it still does?).

Perhaps the most striking aerial “show” I’ve witnessed in recent years was the formation of five or six helicopters buzzing above the Imperial Palace during one of the rare occasions when the public is allowed inside the grounds for the Emperor’s New Year greeting.

Watching another jet approach Haneda from Minato Ward, framed against Tokyo’s new Link Pillar One North Tower beside Takanawa Gateway Station, made me wonder if the local residents here eventually tune out the constant sound of planes overhead, or does it remain an unavoidable part of daily life in the city that they just have to deal with?

Photo 2.
  • Timestamp: 2025/07/16・17:46
  • Fujifilm X100V with 5% diffusion filter
  • ISO 320 for 1/250 sec. at ƒ/8 (moderate crop)
  • Velvia/Vivid film simulation
Photo 1.
  • Timestamp: 2025/07/16・17:58
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/320 sec. at ƒ/4.5 (heavy crop)
  • Velvia/Vivid film simulation

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Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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Shinagawa Intercity

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Glass and Steel Landmark from the ‘90s: Tower A of the Shinagawa Intercity Complex・楕円形の品川ランドマーク「品川インターシティA棟」


The oval-shaped glass exterior of this high-rise caught my eye as I headed back to Shinagawa Station.

Tower A is the tallest of the three towers in the Shinagawa Intercity high-rise office complex. Rising 32 stories to 145 meters (474 feet), it has stood as a landmark on the Shinagawa skyline since 1998.

When it was completed, Tower A was considered one of Tokyo’s most distinctive skyscrapers and a symbol of modern business in Japan. Equipped with state-of-the-art building systems and advanced communication infrastructure, it seemed designed to attract international tech startups and forward-looking companies.

Although it was among Tokyo’s tallest buildings at the time, today Tower A is overshadowed by much taller skyscrapers such as the 65-story Mori JP Tower, which soars to 327 meters (1,073 feet).

While I am impressed by the feats of engineering that allow such tall structures to exist in a land of typhoons, volcanoes, and powerful earthquakes, I find myself more deeply drawn to smaller-scale architecture. The stone and wood craftsmanship of older buildings from the Meiji, Taisho, and early Showa eras still captivates me in a way that even the most imposing glass towers cannot.

  • Location: Minato Ward, Tokyo, Japan
  • Timestamp: 2025/07/16・15:05
  • Fujifilm X100V with 5% diffusion filter
  • ISO 400 for 1/250 sec. at ƒ/2
  • Velvia/Vivid film simulation

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© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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2025-05-28

Nippon Maru

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The Swan of the Pacific: Yokohama’s Nippon Maru

太平洋の白鳥「日本丸」


Although I usually prefer to photograph Nippon Maru at night, when she’s beautifully illuminated, I decided this time to make an attempt to compose a few shots in the harsh afternoon light.

Nippon Maru is now a permanently docked museum ship at the former Yokohama Dock No. 1, just a four-minute walk from Sakuragicho Station in Yokohama’s Naka Ward, within the Minatomirai waterfront district.

Built in Kobe and launched in January 1930, Nippon Maru was designed to train officers for Japan’s merchant marine. During World War II, her masts and rigging were removed so she could serve as a transport vessel, which was possible thanks to her two 600-horsepower diesel engines.

Her training mission resumed in 1952 after her rigging was reinstalled, and she continued sailing until 1984. Over her 54-year career, Nippon Maru trained 11,500 cadets and covered 1.83 million kilometers; an equivalent to circling the globe 45.5 times.

The reason for building such a large training ship dates back to a tragedy in March 1927, when all 53 crew and cadets aboard the smaller training vessel Kirishima Maru were lost at sea. Authorities recognized the need for larger, safer ships, resulting in the construction of two vessels: Nippon Maru and Kaiwo Maru (the latter now also preserved as a museum ship in Toyama Prefecture).

Nippon Maru is a four-masted barque (also known as a jackass bark), with her tallest mast rising 46 meters (161 feet) above the waterline.

Twelve times a year, volunteers help unfurl her 32 sails, which span a total area of 2,397 square meters (25,800 square feet). I hope to return on one of those days to witness the ship in full sail -- a sight I assume that likely inspired her nickname, the Swan of the Pacific.

  • Location: Minatomirai, Yokohama, Japan
  • Timestamp: 2025/05/28・15:12
  • Fujifilm with 5% diffusion filter
  • ISO 1000 for 1/125 sec. at ƒ/10
  • Pro Negative High film simulation

Google Maps links and sources for a deeper dive: 


Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
Visit www.pix4japan.com to learn more.