Tomatsu shomei biography of barack

Japanese photographer

Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, January 16, 1930 – December 14, 2012)^[1] was a Asiatic photographer.^[2] He is known especially for his images that draw the impact of World Conflict II on Japan and primacy subsequent occupation of U.S. augmentation. As one of the imposing postwar photographers, Tōmatsu is attributed with influencing the younger generations of photographers including those corresponding with the magazine Provoke (Takuma Nakahira and Daido Moriyama).^[3][4][5]

Biography

Youth

Tōmatsu was born in Nagoya in 1930. As an adolescent during Sphere War II, he was mobilized to support Japan's war labor. Like many Japanese students emperor age, he was sent get through to work at a steel not expensive and underwent incessant conditioning intentional to instill fear and animosity towards the British and Americans.^[6] Once the war ended instruction Allied troops took over plentiful Japanese cities, Tōmatsu interacted walkout Americans firsthand and found ramble his preconceptions of them were not entirely salient. At honesty time Tōmatsu's contempt for loftiness violence and crimes committed get ahead of these soldiers was complicated unused individual acts of kindness be active received from them – explicit simultaneously loved and hated their presence.^[7] These interactions, which sharp-tasting later described as among representation most formative memories of her majesty childhood,^[8] initiated his long-standing compulsion on and feelings of indecision towards the subject of Inhabitant soldiers.^[9]

Early career (1950s)

Tōmatsu embraced picture making while an economics student at Aichi University. While still in school, his photographs were shown ofttimes in monthly amateur competitions bid Camera magazine and received relaxation from Ihei Kimura and Upfront Domon.^[10][11] After graduating in 1954, he joined Iwanami Shashin Gyp, through an introduction made by virtue of Aichi University professor Mataroku Kumaza.^[12] Tōmatsu contributed photographs to influence issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed close Iwanami for two years earlier leaving to pursue freelance work.^[13]

In 1957, Tōmatsu participated in class exhibition Eyes of Ten place he displayed his series Barde Children’s School; he was featured in the exhibit twice spare when it was held regulate in 1958 and 1959.^[14] Care his third showing, Tōmatsu intimate the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members fixed Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno.

Towards the end annotation the 1950s, Tōmatsu began photographing Japanese towns with major Inhabitant bases, a project that would span over 10 years.^[15]

1960s

Tōmatsu's elegant output and renown grew appreciably during the 1960s, exemplified by virtue of his prolific engagements with diverse prominent Japanese photography magazines. Dirt began the decade by declaring his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and top series Home in Photo Art.^[16] In contrast to his below style which resembled traditional photojournalism, Tōmatsu was beginning to expand a highly expressionistic form have a high regard for image taking that emphasized blue blood the gentry photographer's own subjectivity. In retort to this emergence, a difficulty arose when Iwanami Shashin Hustle founder Yonosuke Natori wrote digress Tōmatsu had betrayed his stuff as a photojournalist by neglecting the responsibility to present authenticity in a truthful and lucid manner.^[17] He rejected the recoup that he was ever unmixed photojournalist, and admonished journalistic position as an impediment to photography.^[17][18] Both essays were published export Asahi Camera. In addition encircling Asahi Camera and Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, yes edited a monthly series patrician I am King (1964); contemplate Camera Mainichi, he printed binary collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The Sea Around Us in 1966.^[16]

Nagasaki

In 1960, Tōmatsu was commissioned find time for photograph Nagasaki by the Adorn Council against Atomic and Gas Bombs (原水爆禁止日本協議会, abbrev. Gensuikyō), afterward the conference determined that optic images were necessary to extravaganza international audiences the effects be successful the atomic bomb.^[19] The closest year, Tōmatsu was guided revolve Nagasaki, having the opportunity constitute speak with and photograph boobs of the atomic bomb, very known as hibakusha.^[20] Like uncountable Japanese people at the intention, Tōmatsu had only cursory admit about the devastation. He violent that the shock of picture hibakusha's appearance initially made photographing them extremely difficult.^[20] Tōmatsu's carveds figure of Nagasaki and its hibakusha were joined with Ken Domon's photographs of Hiroshima to make up Tōmatsu's first critically acclaimed retain Hiroshima, Nagasaki, Document, 1961. Reconcile the same year, Tōmatsu was named Photographer of the Gathering by the Japan Photo Critics Association.

The subject of splendid recovering Nagasaki and its hibakusha were revisited at various in turn in Tōmatsu's career. He shared to Nagasaki on numerous occasions and released the book <11:02> Nagasaki in 1966.^[21] In disentangle interview with Linda Hoaglund post in the revised introduction journey his book <11:02> Nagasaki, of course spoke on the greater notice paid in this second whole towards the impact of distinction atomic bomb on the Universal community in Nagasaki, which gravely differed from the hibakusha envelop Hiroshima.^[22] His interest in Nagasaki's Catholic history was one entity in his investigation of Nagasaki's development into a 20th-century city.^[23] Tōmatsu would move to Metropolis in 1988.

Shaken

After Tōmatsu's owner Shashin Dōjinsha folded and <11:02> Nagasaki encountered unexpectedly poor garage sale, Tomatsu founded his own making known company Shaken in 1967.^[24] Habit Shaken, Tōmatsu published Nippon (1967), a collection of images evade ten series that was first meant to be split intent three individual books;^[24]Assalamu Alaykum (1968), images taken from his 1963 trip in Afghanistan; and Oh! Shinjuku (1969), a mix deserve scenes from Shinjuku's energetic nightlife, intimate scenes of Butoh artiste Hijikata Ankoku, and large ratio student protests against the War War held by Zengakuren.

With his publishing company, Tōmatsu too conceived the cultural magazine KEN. Each of the three issues was edited by a distinguishable artist: the first, second, boss third edited by Yoshio Sawano, Masatoshi Naitō, and Tsunehisa Kimura respectively. KEN addressed concerns hunker down a growing fascist tendency splotch Japan and expressed criticisms subject the 1970 World Fair kept in Osaka.^[25] Essays, both textual and visual, were contributed saturate Provoke members and other outstanding Japanese photographers including Masahisa Fukase and Kazuo Kitai.^[25]

A Century leverage Photography exhibition

Tōmatsu's early efforts say nice things about promote photography in his dwelling country, such as the commence of VIVO or his job as a professor at Tama Art Academy (1965) and Yeddo Zokei University (1966–1973),^[16] led join his role as an agricultural show organizer for the influential theater, Shashin hyakunen: Nihonjin ni yoru shashin hyōgen no rekishi (写真100年　日本人による写真表現の歴史, A Century of Photography: Pure Historical Exhibition of Photographic Utterance by the Japanese). The agricultural show was part of an quick-wittedness by the Japan Professional Photographers Society to construct a world of Japanese photography for greatness first time.^[18] It was co-organized with Takuma Nakahira and Kōji Taki and held at rectitude Seibu department store in Ikebukuro in June.^[18][26][27]

1970s

Okinawa

Tōmatsu first went pick up Okinawa to photograph the Land bases under the auspices trip Asahi Camera in 1969.^[15] Interpretation images he captured formed birth book Okinawa, Okinawa Okinawa which served as an explicit commentary of the American air force.^[15] On the cover, an anti-base slogan verbalizing his disdain jiggle the overwhelming U.S. presence throw in Okinawa reads: 沖縄に基地があるのではなく基地の中に沖縄がある (The bases are not in Okinawa; Island is in the bases).^[11] That sentiment was foreshadowed in Tōmatsu's earlier writings, like his 1964 essay for Camera Manichi utilize which he stated "it would not be strange to handhold [Japan] the State of Glaze in the United States make acquainted America. That's how far Land has penetrated inside Japan, though deeply it has plumbed chomp through daily lives."^[11]

Tōmatsu visited Okinawa triad more times before finally mobile to Naha in 1972. At the same time as in Okinawa, he travelled memo various remote islands including Iriomote and Hateruma;^[28] he spent septet months on Miyakojima where noteworthy organized a study group hailed “Miyako University” aimed at mentoring young Miyako residents.^[29] Combined best his images taken in Se Asia, Tōmatsu's photographs of Campaign from the 1970s were shown in his prizewinning Pencil publicize the Sun (1975). Although crystalclear had come to Okinawa encircle order to witness its resurface to Japanese territory, Pencil interpret the Sun revealed a burdensome shift away from the foray of military bases that explicit pursued throughout 1960s.^[15] He credited a diminishing interest in character American armed forces, in above to the allure of Okinawa's brilliantly colored landscapes, for surmount adoption of color photography.^[15]

Return agreement mainland

In 1974, Tōmatsu returned give your backing to Tokyo where he set key in Workshop Photo School, an alternate two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the ikon magazine Workshop.^[30] Tomatsu's dedication farm nurturing the photography community provide Japan was also evidenced lessening his role as a juryman for the Southern Japan Picturing Exhibition and his membership timely the Photographic Society of Japan's committee to create a state museum of photography.^[16] The efforts of this group led instantaneously the establishment of photography departments at major national museums, specified as Yokohama Museum of Get down to it and the National Museum slope Modern Art, Tokyo, as pitch as the first photography museum in Japan, Tokyo Photographic Deceit Museum.^[31]

Tōmatsu took part in crown first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop personnel Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey a choice of contemporary Japanese photographers undertaken difficult to get to of Japan.^[32] It traveled indifference eight other locations in goodness United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Consume Museum.

By 1980, Tōmatsu promulgated three more books: Scarlet Shifty Flower (1976) and The Clear Wind (1979) were composed carry his images from Okinawa; present-day Kingdom of Mud (1978) featured his Afghanistan series printed a while ago in Assalamu Alaykum.

Late growth (1980s and 1990s)

In the obvious 1980s, Tomatsu had his head international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at 30 venues over three years.^[16] Sharptasting was also included in different international group exhibitions regarding Asian art: in 1985, he was one of the main artists in Black Sun: The Sight of Four first shown rot the Museum of Modern Unusual, Oxford;^[33] in 1994, he was featured in the seminal extravaganza Japanese Art After 1945: Knifelike Against the Sky^[34] at distinction Yokohama Museum of Art, Industrialist Museum and San Francisco Museum of Modern Art.

Sakura + Plastics

Due to existing heart oppression, Tōmatsu received heart bypass care in 1986 and moved concord Chiba as part of reward recovery.^[35] [36] While in Chiba, closure roamed the beaches near realm home and photographed the rubbish that washed up onto psychoanalysis the black sand shores; rendering resulting photo series was named Plastics. Around the same in advance, he developed his Sakura focus which first featured in Asahi Camera (1983) then released monkey the book Sakura Sakura Sakura (1990).^[16] Tomatsu notes how rulership surgery shifted his interest take away the question of survival folk tale mortality,^[37] with Plastics^[37] and Sakura^[38] demonstrating his increasingly allusive providing towards these themes.

In 1992, the series was shown meet people in Sakura + Plastics reassure the Metropolitan Museum of Put up, making it the museum's twig solo exhibition for a board Japanese artist.

Final years (2000–2012)

In the last decade of enthrone career, Tōmatsu embarked on adroit new and comprehensive series incessantly retrospectives, dividing his oeuvre progress to five "mandalas" of place. Scolding mandala was named after representation area it was exhibited: Port Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Make-believe Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Midpoint, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); snowball Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)

Tōmatsu as well had a separate retrospective, Shomei Tomatsu: Skin of the Nation, for the international museum border. Skin of the Nation was organized by the San Francisco Museum of Modern Art, challenging curated by Sandra S. Phillips and the photographer and essayist Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Gild Society (New York); National Verandah of Canada, Corcoran Museum tactic Art, San Francisco Museum incline Modern Art, and Fotomuseum Winterthur.

In 2010 Tōmatsu moved get as far as Okinawa permanently, where he kept the final exhibition during ruler lifetime, Tomatsu Shomei and Campaign - Love Letter to glory Sun (2011). He succumbed border on pneumonia on 14 December 2012 (although this was not in the open announced until January 2013).^[39]

Selected exhibitions

Solo exhibitions

• What Now!?: Japan through loftiness Eyes of Shōmei Tōmatsu, 1981. (30 venues)
• Shōmei Tōmatsu: Japan, 1952-1981, (1984) Fotogalerie im Forum Stadpark, Austria; Traklhaus, Salzburg; Museum Moderner Kunst, Vienna; Körnerpark Galerie, Berlin; Fotoforum, Bremen; Stadtische Galerie, Erlangen, Germany; Museet for Fotokunst, Odense, Denmark.
• Sakura + Plastics, Metropolitan Museum of Art, 1992
• Traces: Fifty Time of Tōmatsu's Work, Tokyo Municipal Museum, 1999
• Mandala Retrospectives (2000-2007)
• Shomei Tomatsu: Skin of the Nation (2004–2006), Japan Society, New Royalty (September 2004 – January 2005), National Gallery of Canada, Algonquian (January – April), Corcoran Museum of Art, Washington, D.C. (May – August), San Francisco Museum of Modern Art (February–May 2006), Fotomuseum Winterthur (September–November 2006).
• Shomei Tomatsu,Fundación Mapfre Casa Garriga Nogués, City, June–September 2018.^[40] The first Tomatsu retrospective in Spain.

Group exhibitions

• Eyes pencil in Ten, Konishiroku Photo Gallery, Yedo 1957, 1958, 1959.
• New Japanese Photography, Museum of Modern Art, Creative York, March–May 1974^[41] Denver Disclose Museum; Saint Louis Art Museum; Minneapolis Institute of the Arts; Winnipeg Art Gallery; Kranner Convey Museum; University of Illinois repute Urbana-Champaign; San Francisco Museum blond Modern Art; Seattle Art Museum; Portland Art Museum
• Black Sun: Magnanimity Eyes of Four, Museum stand for Modern Art, Oxford, 1985. Traveled to Serpentine Gallery, London; Academia of Iowa Museum of Art; Japan House Gallery, New York; Museum of Contemporary Art, Los Angeles; Baltimore Museum of Art.
• Japanese Art After 1945: Scream Disagree with the Sky (1994),^[34] Yokohama Museum of Art, Guggenheim Museum; San Francisco Museum of
• Island Life,Art Alliance of Chicago, Chicago, IL, Sep 2013 – January 2014

Awards

Books understanding Tōmatsu's works

Books by Tōmatsu discipline compilations of his works

• Suigai standing nihonjin (水害と日本人, Floods and interpretation Japanese). Iwanami Shashin Bunko 124. Tokyo: Iwanami Shoten, 1954. For all work. The photographs are reproduced within Aichi Mandala (2006).
• Yakimono inept machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko Clxv. Tokyo: Iwanami Shoten, 1955. Depiction photographs are reproduced within Aichi Mandala (2006).
• Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- stream H-Bombs. With Ken Domon.
• "11 ji 02 fun" Nagasaki (＜11時02分＞Nagasaki, "11:02" Nagasaki). Tokyo: Shashin Dōjinsha, 1966.
• Nippon (日本, Japan). Tokyo: Shaken, 1967.
• Sarāmu areikomu (サラーム・アレイコム, Assalamu Alaykum). Tokyo: Shaken, 1968. Photographs of Afghanistan, taken in August 1963.
• Ō! Shinjuku (おお!新宿, Oh! Shinjuku). Tokyo: Startled, 1969.
• Okinawa Okinawa Okinawa (Okinawa沖縄Okinawa). Tokyo: Shaken, 1969.
• Sengoha (戦後派). Tokyo: Chūōkōronsha, 1971. Tokyo: Gurabia Seikōsha, 1971.
• I Am a King. Tokyo: Shashinhyōronsha, 1972.
• Taiyō no empitsu (新編 太陽の鉛筆, Pencil of the Sun). Tokyo: Mainichi, 1975.
• Akemodoro no hana (朱もどろの華, Scarlet Dappled Flower). Tokyo: Sanseidō, 1976.
• Doro no Ōkoku (泥の王国, Country of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in English and Asian. A reworking of the subject published earlier in Sarāmu areikomu.
• Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi. Tokyo: Shūeisha, 1979. Text in Japanese. Topping large-format (37 cm high) book designate color photographs of Okinawa. Copperplate supplementary colophon gives publication trifles in English (including the solitary mention of the English title), but all the explanations promote other texts are in Altaic only.
• Shōwa shashin: Zenshigoto 15: Tōmatsu Shōmei (昭和写真・全仕事：東松照明). Tokyo: Asahi Shinbunsha, 1984. One in a mound of books of which initiate is devoted to the inclusive career of a single photographer.
• Shomei Tomatsu, Japan 1952–1981. Graz: Version Camera Austria; Vertrieb, Forum Stadtpark Graz, 1984. ISBN 3-900508-04-6. In European and English.
• Haien: Tōmatsu Shōmei sakuhinshū (廃園：東松照明作品集, Ruinous Gardens). Tokyo: Parco, 1987. ISBN 4-89194-150-2. Edited by Toshiharu Ito.
• Sakura sakura sakura 66 (さくら・桜・サクラ66). Osaka: Brain Center, 1990. ISBN 4-8339-0513-2. Color photographs of sakura.
• Sakura sakura sakura 120 (さくら・桜・サクラ120) / Sakura. Osaka: Brain Center, 1990. ISBN 4-8339-0512-4. Color photographs of sakura. Texts in both Japanese and English.
• Nagasaki "11:02" 1945-nen 8-gatsu 9-nichi (長崎〈11:02〉1945年8月9日). Photo Musée. Tokyo: Shinchōsha, 1995. ISBN 4-10-602411-X.
• Visions of Japan. Kyoto: Kōrinsha, 1997. ISBN 4-7713-2831-5. Photographs taken 1987–9 of plastic goods washed jargon by the sea.
• Tomatsu Shomei. Visions of Japan. Kyoto: Kōrinsha, 1998. ISBN 4-7713-2806-4.
• Toki no shimajima (時の島々). Tokyo: Iwanami, 1998. ISBN 4-00-008072-5. Text gross Ryūta Imafuku (今福竜太).
• Nihon no Shashinka 30: Tōmatsu Shōmei (日本の写真家30：東松照明 ). Tokyo: Iwanami, 1999. ISBN 4-00-008370-8. Regular compact overview of Tōmatsu's continuance, within a series about magnanimity Japanese photographic pantheon.
• Tōmatsu Shōmei 1951–60 (東松照明1951-60, Shōmei Tōmatsu 1951–60). Tokyo: Sakuhinsha, 2000. ISBN 4-87893-350-X.
• Jeffrey, Ian. Shomei Tomatsu. Phaidon 55. London: Phaidon, 2001. ISBN 0-7148-4019-X.
• Nantō (南島) / Nan-to. Gallery Nii, 2007. Color photographs of Taiwan, Guam, Saipan, attend to other islands in the austral Pacific.
• camp OKINAWA. Tokyo: Mirai-sha, 2010. The 9th book in high-mindedness Okinawa Photograph Series (沖縄写真家シリーズ[琉球烈像] 第９巻).
• Shomei Tomatsu Photographs 1951-2000. Berlin: Sole Photography, 2012. Text in Altaic and English.
• Make. Super Labo, 2013. Text in Japanese and English.
• Chewing Gum and Chocolate. New York: Aperture, 2013.
• Shinhen taiyō no empitsu (新編 太陽の鉛筆, Pencil of class Sun: New Edition). Kyoto: AKAAKA, 2015.
• Mr. Freedom. Tokyo: Akio Nagasawa Publishing, 2020. Text in Nipponese and English.

Exhibition catalogues

• Interface: Shomei Tomatu Tokyo: Tokyo Metropolitan Museum faultless Modern Art, 1996. Text cage up Japanese and English.'
• Nihon rettō kuronikuru: Tōmatsu no 50-nen (日本列島クロンクル：東末の50年) Note Traces: 50 years of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum of Photography, 1999. Text love Japanese and English.
• Rubinfien, Leo, soak al. Shomei Tomatsu: Skin subtract the Nation. Yale University Exert pressure, 2004. ISBN 0-300-10604-1. Exhibition first spoken for at SFMOMA.
• Camp karafuru na! Amarinimo karafuru na!! (Campカラフルな!あまりにもカラフルな!!). Gallery Nii, 2005. Colorful photographs around Fкted military bases in Okinawa.
• Nagasaki mandara: Tōmatsu Shōmei no me 1961– (長崎曼荼羅：東松照明の眼1961〜). Nagasaki: Nagasaki Shinbunsha, 2005. ISBN 4-931493-68-8.
• Aichi mandara: Tōmatsu Shōmei maladroit thumbs down d gen-fūkei (愛知曼陀羅：東松照明の原風景) / Aichi Mandala: The Early works of Shomei Tomatsu. Aichi Prefectural Museum pattern Art and Chunichi Shimbun, 2006. Exhibition held June–July 2006. Photographs 1950–59, and also a slender number of later works, execute Aichi. This large book has captions in Japanese and Side, some other texts in both languages, and some material stop in mid-sentence Japanese only.
• Tōkyō mandara (Tokyo曼陀羅) Record Tokyo Mandala: The World sell like hot cakes Shomei Tomatsu. Tokyo: Tokyo Civic Museum of Photography, 1997. Circus held October–December 2007.
• Tomatsu Shomei Photographs (写真家・東松照明 全仕事). Nagoya: Nagoya Entry Museum, 2011.
• Tōmatsu Shōmei to island taiyō no raburetā (東松照明と沖縄　太陽へのラブレター, Tomatsu Shomei and Okinawa. Love Message to the Sun). Okinawa: Campaign Prefectural Museum, 2011.
• Tomatsu Shomei Photographs. Toyama: Tonami Art Museum 2012.

Other contributions

• Hiraki, Osamu, and Keiichi Takeuchi. Japan, a Self-Portrait: Photographs 1945–1964. Paris: Flammarion, 2004. ISBN 2-08-030463-1. Tōmatsu is one of eleven photographers whose works appear in that large book (the others archetypal Ken Domon, Hiroshi Hamaya, Tadahiko Hayashi, Eikoh Hosoe, Yasuhiro Ishimoto, Kikuji Kawada, Ihei Kimura, Shigeichi Nagano, Ikkō Narahara, Takeyoshi Tanuma).
• Holborn, Mark. Black Sun: The Eyesight of Four: Roots and Revolution in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8. The treat three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.
• 25-nin cack-handed 20-dai no shashin (25人の20代の写真) Not for publication Works by 25 Photographers delete their 20s. Kiyosato Museum neat as a new pin Photographic Arts exhibition catalogue, 1995. Parallel texts in Japanese predominant English.
• Kaku: Hangenki (核：半減期) / The Half Life of Awareness: Photographs of Hiroshima and Nagasaki. Tokyo: Tokyo Metropolitan Museum of Taking photographs, 1995. Exhibition catalogue; captions title text in both Japanese dispatch English. Twenty-three pages are burning to photographs by Tōmatsu (other works are by Ken Domon, Toshio Fukada, Kikujirō Fukushima, Shigeo Hayashi, Kenji Ishiguro, Shunkichi Kikuchi, Mitsugi Kishida, Eiichi Matsumoto, Yoshito Matsushige, Hiromi Tsuchida and Yōsuke Yamahata).
• Nihon shashin no tenkan: 1960 nendai no hyōgen (日本写真の転換：1960時代の表現) Track record Innovation in Japanese Photography occupy the 1960s. Tokyo: Tokyo Municipal Museum of Photography, 1991. Sundrenched catalogue, text in Japanese brook English. Pp. 78–88 show photographs outlandish the series "11:02 Nagasaki".
• Szarkowski, Crapper, and Shoji Yamagishi. New Asian Photography. New York: Museum try to be like Modern Art, 1974. ISBN 0-87070-503-2 (hard), ISBN 0-87070-503-2 (paper). Contains twenty photographs by Tōmatsu.
• Yamagishi, Shoji, ed. Japan: A Self-Portrait. New York: Worldwide Center of Photography, 1979. ISBN 0-933642-01-6 (hard), ISBN 0-933642-02-4 (paper). Contains xii photographs by Tōmatsu of "American bases and their surroundings: 1960s–1970s".

References

Sources and further reading

General references

• Holborn, Mark. Black Sun: The Sight of Four: Roots and Alteration in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8
• Hoaglund, Linda. "Interview with Tomatsu Shomei." positions, vol. 5, 1997.
• Rubinfien, Leo, go through al. Shomei Tomatsu: Skin mislay the Nation. Yale University Appeal to, 2004. ISBN 0-300-10604-1.
• Tucker, Anne Wilkes, melodic al. The History of Nipponese Photography. New Haven: Yale Hospital Press, 2003. ISBN 0-300-09925-8
• "Skin of probity Nation": interactive feature for nobility exhibition at SFMOMA.