Introduction

I’m mag( @mag_cinephoto ), an NFT photographer. A brief profile is below.

NFT photographer searching for beauty hidden in everyday life. He takes photographs based on the theme of moments where reality and fiction are ambiguously mixed and where there is a margin for imagination. 1/1 works: 11 works SOLD in total, NFT Photo Edition "Multifaceted Tokyo" 4 works x 10 editions SOLD OUT. TV approx. 3.3 ETH. He is also challenging to express himself in unconventional ways in photography, such as collaborations and secondary works.

This time, I collaborated with Kyushime-san ( @kyushime ), an artist with whom I have been very good friends. Kyushime's profile is quoted and excerpted from his official website, but his career and accomplishments are extraordinary...!

An artist who creates an immersive experience with an overwhelming dose of
He became an NFT artist in March 2022. Although he has not done any particularly solid promotion, his Total Volume traded in about 6 months is 24.83 ETH. He continues to produce works today, supported by his core warm fans. Originally a professional cartoonist-illustrator with experience in various weekly, bi-weekly, monthly, and bimonthly manga serials under other names, as well as illustrations for novels and original stories. Kyushime started the Generative NFT Art Project "World of Lunars" with the hope that his works will be enjoyed not only by people in Japan but also by people all over the world. kyushime.com

This is a collaboration of painting and photography with Kyushime. How can we make painting and photography intertwine at a high level? We challenged ourselves to create a work with such a theme as the basis of our work.

It was also a challenging challenge to create the work completely from scratch, with many twists and turns. It was very difficult, but I believe it was a very profound experience.

So I decided to write a note to let people know not only the outline of this collaborative work, but also the actual production process and the thoughts that went into it. I wrote it in the hope of making it as clear as possible, so it is quite long, but I would be happy if you could read it.

About the collaborative work

“Lunars of Tokyo" is the name of the collaboration collection, which will be presented in an edition format, which is probably rare among NFT's collaborative works.

Lunars of Tokyo

This collection is a collaboration between artist Kyushime and photographer Mag.
Slices of the moment when fiction is mixed in and extended to the real Tokyo.

Luna of Tokyo #1 Hanging Garden

Luna of Tokyo #2 Accelerator

Luna of Tokyo #3 Dungeon

Luna of Tokyo #4 Mirage

About List

• Supply: 4 works x 10 editions

• Platform: Opensea

• List Date: Thursday, 2022/11/17 22:00(JST) / 8:00(EST) ~

• Contract: Owned Contract (Manifold)

• Price: 0.05ETH

Odd No. of #1 and #3 will be Kyushime-san, even No. of #2 and #4 will be List from mag.

Those who pick up a piece from the primary sales will also receive a special benefits for each piece they pick up.

Benefit from Kyushime

• Bronze roll for generative PJ "World of Lunars" (right for 1 Allow List mint)
  *If you receive more than one type, you will be promoted to a Silver roll (rights to 3 Allow List mints).

Benefit from Mag

• Airdrop of the original photo corresponding to the work you received (Polygon chain)

Twists and turns in the production of collaborative works

From here, please allow me to write about how we actually produced the collaborative work.

As I mentioned at the beginning of this article, we were thinking about "how we can make pictures and photos intertwine at a high level," "we want to bring it to a form that we are satisfied with," and "we do not want to make it a mere collaboration of pictures and photos.

The following is an excerpt from a conversation we had via DM at the time. (Note: The wording and endings of the messages have been slightly adjusted to make them easier to read. The names of the people in the conversation are abbreviated.)

How did the collaboration start?

It was about half a year ago, on May 28, 2022, that I suddenly received this message from Kyushime-san.

Kyushime: "I would like to collaborate with mag's photos a little ahead of time. Sorry for the abruptness, it's just a vague idea right now, but it's a challenge I would like to fulfill if only mag-san is willing."

To be honest, when I first saw this sentence, I was so honored to be able to collaborate with Kyushime-san, of whom I am also a fan...! But at the same time, I wondered if I would be able to collaborate with the world view of Kyushime-san's work. Would I get in the way? I was very anxious.

However, as the word "challenge" in the message said, I intuitively felt that this would be a challenge for me as well, and I accepted the offer. I think I was strongly motivated by a desire to reward the offer.

Taking the first steps toward collaboration

At the time, we both had production on separate schedules, so we gradually began to work on ideas.

At first, we really started from scratch. We had nothing to base our work on, so we started by coming up with vague ideas in each other's heads.

Kyushime: "It seems hot to use a contemporary Tokyo theme that I don't have in my own work yet.”

Mag: "I take photographs with the theme of a multifaceted Tokyo, so it would be interesting to expand that worldview through collaboration.”

With this as a starting point, I decided to take my own photos first. I chose Shibuya and Harajuku as the Tokyo neighborhoods in which I would like to photograph Kyushime-san's work. I found myself snapping 1,207 photos in one day. (It was summer at the time, so the heat generated by the camera was extraordinary, and I remember being drenched in sweat as I snapped the pictures.)

Along with some of the photos I selected, I presented Kyushime-san with a rough idea of what we would actually do if we were to collaborate.

Thinking about the direction of collaboration

From there, we discussed more specific ways to combine the two, based on a rough sketch of how we would mix photographs and drawings created by Kyushime.

Kyushime: "We want to get to a point where we can show the pictures and the photos at a high level and show them to our satisfaction. I want to get to a point where we can show them to the viewer. I think we can get some hints for the harmony of pictures and photos from the image of BOOM BOOM SATELLITES' PV. It's the opposite of what we do, though: live-action people and illustrations in the background.”

As a side note, this is the first band I've heard of at this time, and they are really cool! mag: "I agree that you want to mix pictures and photos at a high level, so what is the format? I thought about it, but then I wondered if there is an element of collage in it.

I used the word "collage" because I was shocked by the fact that Kyushime-san and Kurosawa had collaborated on a different piece of work shortly before the collaboration began.

mag "Why were you so fascinated by the collaboration between Kyushime-san and Kurosawa-san? I think it was because I was struck by the fact that the two artists clashed in their expressions as equals and sublimated them into a single work in the form of chaos. Rather than having the photograph and the picture exist separately, wouldn't it be more intense and appealing if the photograph encroached on the picture, mixing them together by force and making them into one?"

Kyushime: "Would you like to try collage, mag-san? I might like to see your collage photos, and I have a desire to make a different line of collage from Kurosawa's."

Trying to make a collage photo

I had no experience in collage, although I had mentioned it in the course of the conversation...! While listening to Kurosawa-san's collage method, I decided to do my own research and try making a collage.

Multiple exposures of the Tokyo moments that moved me, superimposed on my own senses.

mag "The theme of my photography is a mixture of the real and the virtual, a moment of imagination, but by incorporating collage, I feel that I am becoming further and further removed from reality and am being concentrated into an imaginary image."

kyushime: "I feel that the process of drawing pictures to match the collage creates something new. For example, mag's collage, my drawing transcribed to match the collage, and then the collage again?

Reexamining the direction of production

As we talked about many things like this, Kyushime-san shared with us the concerns he felt based on his own experience of collaboration.

kyushime: "Once again, I think that mag's photographs are wonderful collages and can be completed on their own. But on the other hand, I want to avoid the fear that we will kill each other's work.

kyushime: "I proposed the collage because I genuinely wanted to see mag's collage, but my concern became stronger when I saw the work that mag recently submitted for the exhibition project.

kyushime: "I felt that mag-san does not process (collage), and that is why he takes his works, which is like the core of mag-san as a photographer.

kyushime: "Yes, we are now thinking that we really want to collaborate while taking advantage of each other's best qualities. That probably means I want to collaborate well without killing the unprocessed, finished photographs."

It was a word that I felt I was more than deserving of, and that I respected very much. I was grateful for the opportunity to collaborate on the collage, and I welcomed the change of direction to improve the quality of the work.

Confirmation of mutual characteristics and photo selection

From there, we decided to select photos that would harmonize with Kyushime’s paintings, and to seek a matching process that would involve as little touching of the photos as possible. We started by confirming each other's characteristics in the process.

kyushime: "In terms of the mutual characteristics part, how do you see the characteristics of your own work? My own characteristics are. I consider myself good at relatively dark and beautiful things, such as aggression, rather than bright things, which I consider to be my personality."

mag "I think I prefer a calm and somber impression with low color saturation rather than vivid and gorgeous. I also think it is my characteristic to express surrealistic impressions or moments that feel unrealistic.

kyushime: "I see, it may be easier to match the core of the theme if we draw together. I think my characteristics and mag's characteristics will be best when they are combined. mag, can you see more of your pictures?"

Therefore, I decided to show you a selection of some photos that focus purely on my own expression, rather than on the images of Kyushime's work.

Rough creation of illustration

From this point on, Kyushime created a rough illustration based on the photos selected from the candidates.

kyushime: "Black and white without shadows might be better. I would like to focus on the sporty side and create a series of 4 patterns in black and white, and use the composition and depth of the photos as an approach to collaboration."

The rough draft took my breath away...! He also suggested that it might be innovative to try to develop my own editions in this way. And then the production proceeded further.

kyushime: "I tried to bring the photo forward by combining the three-dimensional structure within the photo well, while using monochromatic characters so as not to disturb the photo. But the girl's fashion, whether to give it a full swing of Tokyo feeling or a form that blends in with the city, is troubling."

I had my own trouble here, but I expressed my opinion as one of Kyushime's fans.

mag "The approach is to define fashion from a world view. Do you want to swing all the way to Tokyo, or do you want to make it a form that blends in with the city...? For me, I feel that the more uncomfortable it is, the better."

mag "For example, if a girl were to wear contemporary Tokyo attire, I feel that it would somehow narrow the scope of her imagination. I would rather have a sense of mystery and wonder what it is, which I find attractive in his works. and the sense that the mystery deepens is better.”

mag "I personally feel quite comfortable with the somewhat inorganic and abstract clothing in the rough drawing, which is not tied to the time and world of contemporary Tokyo.”

kyushime: "So you need a fashionable outline in the sense of matching it well with the photograph, but it is more imaginative to ignore the fashion of contemporary clothing and make it original or even abstract.... Makes sense."

Based on such an exchange, he brushed up further.

Completion of the work

And finally completed...! When I saw the work, I was very, very moved. I felt that it showed a form of harmony between the picture and the photograph, which was born after twists and turns of deliberation.

The title of the collection was actually decided upon during a detailed discussion in Discord voice chat.

The name of the collection is simply "Lunars of Tokyo”. We also decided to use the plural form "Lunars" in anticipation of the possibility of future expansion.

As for the titles of the works, I am not at liberty to say that I gave them to myself. I titled them according to what I could imagine, such as the impression I had when I took the photos, the impression I had when I actually looked at the collaborated works, or what I thought abstractly.

However, I thought that writing too much detail would limit the space for imagination, so I tried to keep it as simple as possible. It is only one aspect of the work, and I would be happy if you could help me feel and taste the work.

What I felt through the collaboration

As I was transcribing my thoughts in my notebook, I felt that this collaboration was not a production process with a correct answer like a template, but rather a literal search, or rather, a process of twists and turns that led to the creation of the work.

Also, the fact that once we considered the collage approach, we circled back around and dealt with photos that were less conscious of the collaboration, and settled on a simple combination was very refreshing. I think it was also a new discovery for me to be able to adopt the approach of combining things that are all about my own individuality. I think we were able to change course in this way because we had a relationship that allowed us to frankly exchange opinions about the production of the work.

Above all, I think it was a valuable experience to be able to directly experience the creativity of such a wonderful artist as Kyushime-san through collaboration. I learned a lot from him, including his respect for others, his spirit of challenge, and his approach to improving the quality of his work. I am very grateful to Kyushime-san.

Conclusion

This was a really valuable experience, so I have tried to write as vividly as possible about the review process, even though it was very long. I would be very happy if you could get some idea of the production process, its twists and turns, and if you could use it as an element to savor the work again.

Once again, thank you, Kyushime, for doing this collaboration! I would be very happy if you could feel something from this collaborative work.

Thank you for reading to the end! If you liked this note, I would be very happy if you could give me your feedback by RT, like, or quote RT if you like!