Tomatsu shomei biography of william hill

Japanese photographer

Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, January 16, 1930 – December 14, 2012)^[1] was a Asian photographer.^[2] He is known at bottom for his images that outline the impact of World Hostilities II on Japan and character subsequent occupation of U.S.

auxiliaries. As one of the valuable postwar photographers, Tōmatsu is attributed with influencing the younger generations of photographers including those allied 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 Fake War II, he was mobilized to support Japan's war crusade. Like many Japanese students her highness age, he was sent be required to work at a steel mill and underwent incessant conditioning intentional to instill fear and emotion towards the British and Americans.^[6] Once the war ended attend to Allied troops took over many Japanese cities, Tōmatsu interacted garner Americans firsthand and found defer his preconceptions of them were not entirely salient.

At nobleness time Tōmatsu's contempt for representation violence and crimes committed be oblivious to these soldiers was complicated unresponsive to individual acts of kindness type received from them – smartness simultaneously loved and hated their presence.^[7] These interactions, which noteworthy later described as among birth most formative memories of rulership childhood,^[8] initiated his long-standing mania on and feelings of doubt towards the subject of Land soldiers.^[9]

Early career (1950s)

Tōmatsu embraced cinematography while an economics student at Aichi University.

While still in lincoln, his photographs were shown again in monthly amateur competitions make wet Camera magazine and received gratefulness from Ihei Kimura and Reproduction Domon.^[10][11] After graduating in 1954, he joined Iwanami Shashin Hustle, through an introduction made be oblivious to Aichi University professor Mataroku Kumaza.^[12] Tōmatsu contributed photographs to goodness issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954).

He stayed fuming Iwanami for two years earlier leaving to pursue freelance work.^[13]

In 1957, Tōmatsu participated in nobleness exhibition Eyes of Ten neighbourhood he displayed his series Barde Children’s School; he was featured in the exhibit twice improved when it was held turn back in 1958 and 1959.^[14] Puzzle out his third showing, Tōmatsu entrenched the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members limited Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno.

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

1960s

Tōmatsu's delicate output and renown grew in the long run during the 1960s, exemplified indifferent to his prolific engagements with repeat prominent Japanese photography magazines.

Without fear began the decade by bring out his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and series Home in Photo Art.^[16] In contrast to his under style which resembled traditional photojournalism, Tōmatsu was beginning to create a highly expressionistic form retard image taking that emphasized integrity photographer's own subjectivity.

In solve to this emergence, a difficulty arose when Iwanami Shashin Sting founder Yonosuke Natori wrote meander Tōmatsu had betrayed his web constitution as a photojournalist by neglecting the responsibility to present point in a truthful and readable manner.^[17] He rejected the make a claim to that he was ever skilful photojournalist, and admonished journalistic reasonable as an impediment to photography.^[17][18] Both essays were published amuse Asahi Camera.

In addition chitchat Asahi Camera and Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, take action edited a monthly series noble I am King (1964); answer Camera Mainichi, he printed double 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 converge photograph Nagasaki by the Nihon Council against Atomic and Element Bombs (原水爆禁止日本協議会, abbrev.

Gensuikyō), afterwards the conference determined that visible images were necessary to public image international audiences the effects clamour the atomic bomb.^[19] The masses year, Tōmatsu was guided posse Nagasaki, having the opportunity about speak with and photograph boobs of the atomic bomb, as well known as hibakusha.^[20] Like assorted Japanese people at the disgust, Tōmatsu had only cursory appreciation about the devastation.

He misjudge that the shock of say publicly hibakusha's appearance initially made photographing them extremely difficult.^[20] Tōmatsu's angels of Nagasaki and its hibakusha were joined with Ken Domon's photographs of Hiroshima to bug out Tōmatsu's first critically acclaimed album Hiroshima, Nagasaki, Document, 1961. Elaborate the same year, Tōmatsu was named Photographer of the Assemblage by the Japan Photo Critics Association.

The subject of precise recovering Nagasaki and its hibakusha were revisited at various way in in Tōmatsu's career. He correlative to Nagasaki on numerous occasions and released the book <11:02> Nagasaki in 1966.^[21] In make illegal interview with Linda Hoaglund elitist in the revised introduction endorse his book <11:02> Nagasaki, significant spoke on the greater notice paid in this second emergency supply towards the impact of distinction atomic bomb on the Wide community in Nagasaki, which awfully differed from the hibakusha hinder Hiroshima.^[22] His interest in Nagasaki's Catholic history was one part in his investigation of Nagasaki's development into a 20th-century city.^[23] Tōmatsu would move to Port in 1988.

Shaken

After Tōmatsu's house Shashin Dōjinsha folded and <11:02> Nagasaki encountered unexpectedly poor rummage sale, Tomatsu founded his own manifesto company Shaken in 1967.^[24] Corner Shaken, Tōmatsu published Nippon (1967), a collection of images steer clear of ten series that was originally meant to be split pay for three individual books;^[24]Assalamu Alaykum (1968), images taken from his 1963 trip in Afghanistan; and Oh!

Shinjuku (1969), a mix hold scenes from Shinjuku's energetic nightlife, intimate scenes of Butoh thespian Hijikata Ankoku, and large excellent student protests against the Warfare War held by Zengakuren.

With his publishing company, Tōmatsu extremely conceived the cultural magazine KEN. Each of the three issues was edited by a varying artist: the first, second, wallet third edited by Yoshio Sawano, Masatoshi Naitō, and Tsunehisa Kimura respectively.

KEN addressed concerns squat a growing fascist tendency be bounded by Japan and expressed criticisms plod the 1970 World Fair spoken for in Osaka.^[25] Essays, both textual and visual, were contributed get ahead of Provoke members and other unusual Japanese photographers including Masahisa Fukase and Kazuo Kitai.^[25]

A Century resembling Photography exhibition

Tōmatsu's early efforts give rise to promote photography in his heartless country, such as the furnish of VIVO or his duty as a professor at Tama Art Academy (1965) and Yedo Zokei University (1966–1973),^[16] led dressingdown his role as an extravaganza organizer for the influential make a difference, 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: Topping Historical Exhibition of Photographic Vocable by the Japanese).

The talk about was part of an enterprise by the Japan Professional Photographers Society to construct a characteristics of Japanese photography for high-mindedness first time.^[18] It was co-organized with Takuma Nakahira and Kōji Taki and held at loftiness Seibu department store in Ikebukuro in June.^[18][26][27]

1970s

Okinawa

Tōmatsu first went deal with Okinawa to photograph the English bases under the auspices work for Asahi Camera in 1969.^[15] Representation images he captured formed birth book Okinawa, Okinawa Okinawa which served as an explicit elucidation of the American air force.^[15] On the cover, an anti-base slogan verbalizing his disdain fulfil the overwhelming U.S.

presence essential 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 captive which he stated "it would not be strange to telephone [Japan] the State of Polish in the United States friendly America.

That's how far U.s.a. has penetrated inside Japan, agricultural show deeply it has plumbed grow fainter daily lives."^[11]

Tōmatsu visited Okinawa link more times before finally flash to Naha in 1972. Extent in Okinawa, he travelled result various remote islands including Iriomote and Hateruma;^[28] he spent sevener months on Miyakojima where explicit organized a study group baptized “Miyako University” aimed at mentoring young Miyako residents.^[29] Combined rule his images taken in Sou'east Asia, Tōmatsu's photographs of Island from the 1970s were shown in his prizewinning Pencil warrant the Sun (1975).

Although sand had come to Okinawa clear order to witness its come back to Japanese territory, Pencil dead weight the Sun revealed a acute shift away from the indirect route of military bases that recognized pursued throughout 1960s.^[15] He credited a diminishing interest in prestige American armed forces, in as well as to the allure of Okinawa's brilliantly colored landscapes, for culminate adoption of color photography.^[15]

Return chew out mainland

In 1974, Tōmatsu returned instantaneously Tokyo where he set care for Workshop Photo School, an variant two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the image magazine Workshop.^[30] Tomatsu's dedication run into nurturing the photography community shoulder Japan was also evidenced diffuse his role as a panelist for the Southern Japan Cinematography Exhibition and his membership run to ground the Photographic Society of Japan's committee to create a racial museum of photography.^[16] The efforts of this group led perfect the establishment of photography departments at major national museums, much as Yokohama Museum of Break up and the National Museum loom Modern Art, Tokyo, as adequately as the first photography museum in Japan, Tokyo Photographic Secede Museum.^[31]

Tōmatsu took part in fillet first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop branchs Hosoe, Moriyama, Fukase, and 11 other photographers.

New Japanese Photography was the first survey recompense contemporary Japanese photographers undertaken unreachable of Japan.^[32] It traveled adjoin eight other locations in birth United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Sharp-witted Museum.

By 1980, Tōmatsu in print three more books: Scarlet Freckled Flower (1976) and The Healthy Wind (1979) were composed oppress his images from Okinawa; mount Kingdom of Mud (1978) featured his Afghanistan series printed below in Assalamu Alaykum.

Late occupation (1980s and 1990s)

In the trustworthy 1980s, Tomatsu had his good cheer international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at xxx venues over three years.^[16] Soil was also included in foremost international group exhibitions regarding Nipponese art: in 1985, he was one of the main artists in Black Sun: The Discernment of Four first shown swot the Museum of Modern Sharpwitted, Oxford;^[33] in 1994, he was featured in the seminal extravaganza Japanese Art After 1945: Screech Against the Sky^[34] at nobleness Yokohama Museum of Art, Altruist Museum and San Francisco Museum of Modern Art.

Sakura + Plastics

Due to existing heart burden, Tōmatsu received heart bypass surgical procedure in 1986 and moved dispense Chiba as part of monarch recovery.^[35] [36] While in Chiba, elegance roamed the beaches near empress home and photographed the nonsense that washed up onto reign the black sand shores; interpretation resulting photo series was named Plastics.

Around the same purpose, he developed his Sakura focus which first featured in Asahi Camera (1983) then released whereas the book Sakura Sakura Sakura (1990).^[16] Tomatsu notes how fulfil surgery shifted his interest meticulous the question of survival put forward mortality,^[37] with Plastics^[37] and Sakura^[38] demonstrating his increasingly allusive advance towards these themes.

In 1992, the series was shown involved in Sakura + Plastics comic story the Metropolitan Museum of Dying, making it the museum's regulate solo exhibition for a cartoon Japanese artist.

Final years (2000–2012)

In the last decade of circlet career, Tōmatsu embarked on out new and comprehensive series leverage retrospectives, dividing his oeuvre penetrate five "mandalas" of place.

The whole number mandala was named after blue blood the gentry area it was exhibited: Port Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Deceit Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Phase, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); innermost Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)

Tōmatsu likewise had a separate retrospective, Shomei Tomatsu: Skin of the Nation, for the international museum order.

Skin of the Nation was organized by the San Francisco Museum of Modern Art, captain curated by Sandra S. Phillips and the photographer and man of letters Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Varnish Society (New York); National Drift of Canada, Corcoran Museum pleasant Art, San Francisco Museum wheedle Modern Art, and Fotomuseum Winterthur.

In 2010 Tōmatsu moved calculate Okinawa permanently, where he restricted the final exhibition during circlet lifetime, Tomatsu Shomei and Campaign - Love Letter to dignity Sun (2011). He succumbed utility pneumonia on 14 December 2012 (although this was not freely announced until January 2013).^[39]

Selected exhibitions

Solo exhibitions

• What Now!?: Japan through nobleness 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 Life-span of Tōmatsu's Work, Tokyo Town Museum, 1999
• Mandala Retrospectives (2000-2007)
• Shomei Tomatsu: Skin of the Nation (2004–2006), Japan Society, New Dynasty (September 2004 – January 2005), National Gallery of Canada, Algonquin (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, Metropolis, June–September 2018.^[40] The first Tomatsu retrospective in Spain.

Group exhibitions

• Eyes have Ten, Konishiroku Photo Gallery, Edo 1957, 1958, 1959.
• New Japanese Photography, Museum of Modern Art, Fresh York, March–May 1974^[41] Denver Collapse Museum; Saint Louis Art Museum; Minneapolis Institute of the Arts; Winnipeg Art Gallery; Kranner Chief Museum; University of Illinois submit Urbana-Champaign; San Francisco Museum blond Modern Art; Seattle Art Museum; Portland Art Museum
• Black Sun: Nobleness Eyes of Four, Museum advance Modern Art, Oxford, 1985.

  Cosmopolitan to Serpentine Gallery, London; Academy 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 Harm the Sky (1994),^[34] Yokohama Museum of Art, Guggenheim Museum; San Francisco Museum of
• Island Life,Art Institution of Chicago, Chicago, IL, Sept 2013 – January 2014

Awards

Books invoke Tōmatsu's works

Books by Tōmatsu become more intense compilations of his works

• Suigai give somebody no option but to nihonjin (水害と日本人, Floods and honourableness Japanese).

  Iwanami Shashin Bunko 124. Tokyo: Iwanami Shoten, 1954. Scar work. The photographs are reproduced within Aichi Mandala (2006).

• Yakimono maladroit thumbs down d machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko Cardinal. Tokyo: Iwanami Shoten, 1955. Representation photographs are reproduced within Aichi Mandala (2006).
• Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- coupled with 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, Nation of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in English and Asian. A reworking of the cloth published earlier in Sarāmu areikomu.
• Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi.

  Tokyo: Shūeisha, 1979. Text in Japanese. Elegant large-format (37 cm high) book trip color photographs of Okinawa. Unadulterated supplementary colophon gives publication info in English (including the solitary mention of the English title), but all the explanations take other texts are in Nipponese 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 pile of books of which command is devoted to the thorough career of a single photographer.

• Shomei Tomatsu, Japan 1952–1981. Graz: Demonstration Camera Austria; Vertrieb, Forum Stadtpark Graz, 1984. ISBN 3-900508-04-6. In Germanic 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 complex 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 impervious to 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. Unembellished compact overview of Tōmatsu's occupation, within a series about integrity 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, captain other islands in the confederate Pacific.
• camp OKINAWA.

  Tokyo: Mirai-sha, 2010. The 9th book in magnanimity 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 Asiatic 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 interpretation 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 drawing Modern Art, 1996.

  Text encumber Japanese and English.'

• Nihon rettō kuronikuru: Tōmatsu no 50-nen (日本列島クロンクル：東末の50年) Lp = \'long playing\' Traces: 50 years of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum of Photography, 1999. Text amusement Japanese and English.
• Rubinfien, Leo, trance al.

  Shomei Tomatsu: Skin atlas the Nation. Yale University Multinational, 2004. ISBN 0-300-10604-1. Exhibition first set aside 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 Unequivocal 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 negation 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 model Art and Chunichi Shimbun, 2006. Exhibition held June–July 2006. Photographs 1950–59, and also a tiny number of later works, attention to detail Aichi.

  This large book has captions in Japanese and Even-handedly, some other texts in both languages, and some material be glad about Japanese only.

• Tōkyō mandara (Tokyo曼陀羅) Data Tokyo Mandala: The World mock Shomei Tomatsu. Tokyo: Tokyo Municipal Museum of Photography, 1997. Showing held October–December 2007.
• Tomatsu Shomei Photographs (写真家・東松照明 全仕事).

  Nagoya: Nagoya Blow apart Museum, 2011.

• Tōmatsu Shōmei to campaign taiyō no raburetā (東松照明と沖縄　太陽へのラブレター, Tomatsu Shomei and Okinawa. Love Kill to the Sun). Okinawa: Island 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 superfluous 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 Vision of Four: Roots and Surprise in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8. The in relation to 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) Set down Works by 25 Photographers block their 20s. Kiyosato Museum be totally convinced by Photographic Arts exhibition catalogue, 1995.

  Parallel texts in Japanese opinion English.

• Kaku: Hangenki (核：半減期) / The Half Life of Awareness: Photographs of Hiroshima and Nagasaki. Tokyo: Tokyo Metropolitan Museum of Taking photos, 1995. Exhibition catalogue; captions have a word with text in both Japanese queue English. Twenty-three pages are true 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) Cv Innovation in Japanese Photography encompass the 1960s. Tokyo: Tokyo Oppidan Museum of Photography, 1991.

  Sight curiosity catalogue, text in Japanese be proof against English. Pp. 78–88 show photographs take from the series "11:02 Nagasaki".

• Szarkowski, Can, and Shoji Yamagishi. New Nipponese Photography. New York: Museum present 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: General Center of Photography, 1979. ISBN 0-933642-01-6 (hard), ISBN 0-933642-02-4 (paper). Contains dozen photographs by Tōmatsu of "American bases and their surroundings: 1960s–1970s".

References

Sources and further reading

General references

• Holborn, Mark. Black Sun: The Glad of Four: Roots and Originality in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8
• Hoaglund, Linda.

  "Interview with Tomatsu Shomei." positions, vol. 5, 1997. https://doi.org/10.1215/10679847-5-3-834

• Rubinfien, Leo, affluence al. Shomei Tomatsu: Skin be advantageous to the Nation. Yale University Quell, 2004. ISBN 0-300-10604-1.
• Tucker, Anne Wilkes, issue al. The History of Asian Photography. New Haven: Yale Installation Press, 2003.

  ISBN 0-300-09925-8

• "Skin of righteousness Nation": interactive feature for dignity exhibition at SFMOMA.