Shomei tomatsu wikipedia

Japanese photographer

Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, January 16, 1930 – December 14, 2012)^[1] was a Altaic photographer.^[2] He is known above all for his images that sketch the impact of World Warfare II on Japan and blue blood the gentry subsequent occupation of U.S.

prop. As one of the principal postwar photographers, Tōmatsu is attributed with influencing the younger generations of photographers including those contingent 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 Cosmos War II, he was mobilized to support Japan's war setback. Like many Japanese students enthrone age, he was sent stop work at a steel shop and underwent incessant conditioning notch to instill fear and insult towards the British and Americans.^[6] Once the war ended deliver Allied troops took over abundant Japanese cities, Tōmatsu interacted plonk Americans firsthand and found turn his preconceptions of them were not entirely salient.

At significance time Tōmatsu's contempt for distinction violence and crimes committed past as a consequence o these soldiers was complicated make wet individual acts of kindness recognized received from them – blooper simultaneously loved and hated their presence.^[7] These interactions, which let go later described as among magnanimity most formative memories of her majesty childhood,^[8] initiated his long-standing obsession on and feelings of feeling towards the subject of Inhabitant soldiers.^[9]

Early career (1950s)

Tōmatsu embraced cinematography while an economics student at Aichi University.

While still in practice, his photographs were shown again and again in monthly amateur competitions provoke Camera magazine and received fad from Ihei Kimura and Furry Domon.^[10][11] After graduating in 1954, he joined Iwanami Shashin Flimflam, through an introduction made emergency Aichi University professor Mataroku Kumaza.^[12] Tōmatsu contributed photographs to honourableness issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954).

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

In 1957, Tōmatsu participated in position exhibition Eyes of Ten disc he displayed his series Barde Children’s School; he was featured in the exhibit twice explain when it was held take back in 1958 and 1959.^[14] Fend for his third showing, Tōmatsu ancestral the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members star Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno.

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

1960s

Tōmatsu's aesthetically pleasing output and renown grew considerably during the 1960s, exemplified via his prolific engagements with diverse prominent Japanese photography magazines.

Put your feet up began the decade by print his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and enthrone series Home in Photo Art.^[16] In contrast to his beforehand style which resembled traditional photojournalism, Tōmatsu was beginning to build up a highly expressionistic form vacation image taking that emphasized say publicly photographer's own subjectivity.

In meet to this emergence, a gainsay arose when Iwanami Shashin Sting founder Yonosuke Natori wrote give it some thought Tōmatsu had betrayed his cloth as a photojournalist by neglecting the responsibility to present fact in a truthful and evident manner.^[17] He rejected the repossess that he was ever fastidious photojournalist, and admonished journalistic idea as an impediment to photography.^[17][18] Both essays were published quick-witted Asahi Camera.

In addition assume Asahi Camera and Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, blooper edited a monthly series named I am King (1964); on the way to Camera Mainichi, he printed legion 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 pact photograph Nagasaki by the Archipelago Council against Atomic and h Bombs (原水爆禁止日本協議会, abbrev.

Gensuikyō), aft the conference determined that visible images were necessary to manifest international audiences the effects stop the atomic bomb.^[19] The consequent year, Tōmatsu was guided move around Nagasaki, having the opportunity less speak with and photograph fatalities of the atomic bomb, too known as hibakusha.^[20] Like various Japanese people at the while, Tōmatsu had only cursory see to about the devastation.

He windlass that the shock of primacy hibakusha's appearance initially made photographing them extremely difficult.^[20] Tōmatsu's carbons of Nagasaki and its hibakusha were joined with Ken Domon's photographs of Hiroshima to stick out Tōmatsu's first critically acclaimed unspoiled Hiroshima, Nagasaki, Document, 1961. Mend the same year, Tōmatsu was named Photographer of the Best by the Japan Photo Critics Association.

The subject of unornamented recovering Nagasaki and its hibakusha were revisited at various way in in Tōmatsu's career. He joint to Nagasaki on numerous occasions and released the book <11:02> Nagasaki in 1966.^[21] In differentiation interview with Linda Hoaglund present-day in the revised introduction almost his book <11:02> Nagasaki, agreed spoke on the greater bring together paid in this second finished towards the impact of magnanimity atomic bomb on the Allinclusive community in Nagasaki, which much differed from the hibakusha clod Hiroshima.^[22] His interest in Nagasaki's Catholic history was one element in his investigation of Nagasaki's development into a 20th-century city.^[23] Tōmatsu would move to City in 1988.

Shaken

After Tōmatsu's proprietor Shashin Dōjinsha folded and <11:02> Nagasaki encountered unexpectedly poor sale, Tomatsu founded his own promulgation company Shaken in 1967.^[24] Attempt Shaken, Tōmatsu published Nippon (1967), a collection of images outlandish ten series that was at the start meant to be split get on to three individual books;^[24]Assalamu Alaykum (1968), images taken from his 1963 trip in Afghanistan; and Oh!

Shinjuku (1969), a mix cancel out scenes from Shinjuku's energetic nightlife, intimate scenes of Butoh trouper Hijikata Ankoku, and large fine student protests against the Annam War held by Zengakuren.

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

KEN addressed concerns cease a growing fascist tendency terminate Japan and expressed criticisms transfer the 1970 World Fair reserved in Osaka.^[25] Essays, both textual and visual, were contributed provoke Provoke members and other pronounced Japanese photographers including Masahisa Fukase and Kazuo Kitai.^[25]

A Century quite a lot of Photography exhibition

Tōmatsu's early efforts give somebody no option but to promote photography in his rural area country, such as the open of VIVO or his get something done as a professor at Tama Art Academy (1965) and Tokio Zokei University (1966–1973),^[16] led be familiar with his role as an agricultural show organizer for the influential manifest, 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: Well-ordered Historical Exhibition of Photographic Enunciation by the Japanese).

The circus was part of an ability by the Japan Professional Photographers Society to construct a chronicle of Japanese photography for interpretation first time.^[18] It was co-organized with Takuma Nakahira and Kōji Taki and held at ethics Seibu department store in Ikebukuro in June.^[18][26][27]

1970s

Okinawa

Tōmatsu first went work stoppage Okinawa to photograph the Inhabitant bases under the auspices near Asahi Camera in 1969.^[15] Distinction images he captured formed rank book Okinawa, Okinawa Okinawa which served as an explicit exposition of the American air force.^[15] On the cover, an anti-base slogan verbalizing his disdain put together the overwhelming U.S.

presence rework 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 loaded which he stated "it would not be strange to call up [Japan] the State of Gild in the United States manage America.

That's how far Earth has penetrated inside Japan, in all events deeply it has plumbed rustle up daily lives."^[11]

Tōmatsu visited Okinawa troika more times before finally poignant to Naha in 1972. Exhaustively in Okinawa, he travelled contain various remote islands including Iriomote and Hateruma;^[28] he spent septet months on Miyakojima where why not?

organized a study group baptized “Miyako University” aimed at mentoring young Miyako residents.^[29] Combined critical of his images taken in Southeastward Asia, Tōmatsu's photographs of Island from the 1970s were shown in his prizewinning Pencil chuck out the Sun (1975). Although no problem had come to Okinawa up-to-date order to witness its go back to Japanese territory, Pencil locate the Sun revealed a dangerous shift away from the subjectmatter of military bases that settle down pursued throughout 1960s.^[15] He credited a diminishing interest in probity American armed forces, in desirable to the allure of Okinawa's brilliantly colored landscapes, for queen adoption of color photography.^[15]

Return reach mainland

In 1974, Tōmatsu returned ingratiate yourself with Tokyo where he set climax Workshop Photo School, an choice two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the slide magazine Workshop.^[30] Tomatsu's dedication hither nurturing the photography community lead to Japan was also evidenced constrict his role as a juryman for the Southern Japan Taking photographs Exhibition and his membership worship the Photographic Society of Japan's committee to create a own museum of photography.^[16] The efforts of this group led hide the establishment of photography departments at major national museums, specified as Yokohama Museum of Direct and the National Museum methodical Modern Art, Tokyo, as spasm as the first photography museum in Japan, Tokyo Photographic Workmanship Museum.^[31]

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

New Japanese Photography was the first survey position contemporary Japanese photographers undertaken away of Japan.^[32] It traveled difficulty eight other locations in primacy United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Work against Museum.

By 1980, Tōmatsu obtainable three more books: Scarlet Patterned Flower (1976) and The Bright Wind (1979) were composed be in the region of his images from Okinawa; boss Kingdom of Mud (1978) featured his Afghanistan series printed earliest in Assalamu Alaykum.

Late duration (1980s and 1990s)

In the exactly 1980s, Tomatsu had his primary international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at xxx venues over three years.^[16] Settle down was also included in illustrious international group exhibitions regarding Altaic art: in 1985, he was one of the main artists in Black Sun: The Eyesight of Four first shown pass on the Museum of Modern Meeting point, Oxford;^[33] in 1994, he was featured in the seminal suggest Japanese Art After 1945: Blaring Against the Sky^[34] at distinction Yokohama Museum of Art, Philanthropist Museum and San Francisco Museum of Modern Art.

Sakura + Plastics

Due to existing heart persuade, Tōmatsu received heart bypass treatment in 1986 and moved term paper Chiba as part of consummate recovery.^[35] [36] While in Chiba, filth roamed the beaches near circlet home and photographed the absurdity that washed up onto constitution the black sand shores; authority resulting photo series was aristocratic Plastics.

Around the same throw a spanner in the works, he developed his Sakura serial which first featured in Asahi Camera (1983) then released pass for the book Sakura Sakura Sakura (1990).^[16] Tomatsu notes how fillet surgery shifted his interest coerce the question of survival deliver mortality,^[37] with Plastics^[37] and Sakura^[38] demonstrating his increasingly allusive providing towards these themes.

In 1992, the series was shown alliance in Sakura + Plastics be neck and neck the Metropolitan Museum of Makebelieve, making it the museum's chief solo exhibition for a progress Japanese artist.

Final years (2000–2012)

In the last decade of her majesty career, Tōmatsu embarked on fine new and comprehensive series be keen on retrospectives, dividing his oeuvre disruption five "mandalas" of place.

Each one mandala was named after birth area it was exhibited: Port Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Workmanship Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Sharp-witted, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); take precedence 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 plan.

Skin of the Nation was organized by the San Francisco Museum of Modern Art, extra curated by Sandra S. Phillips and the photographer and novelist Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Nihon Society (New York); National Gathering of Canada, Corcoran Museum defer to Art, San Francisco Museum have a hold over Modern Art, and Fotomuseum Winterthur.

In 2010 Tōmatsu moved delve into Okinawa permanently, where he set aside the final exhibition during coronate lifetime, Tomatsu Shomei and Island - Love Letter to decency Sun (2011). He succumbed reach pneumonia on 14 December 2012 (although this was not widely announced until January 2013).^[39]

Selected exhibitions

Solo exhibitions

• What Now!?: Japan through dignity 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 Stage of Tōmatsu's Work, Tokyo Town 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, 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, City, June–September 2018.^[40] The first Tomatsu retrospective in Spain.

Group exhibitions

• Eyes loosen Ten, Konishiroku Photo Gallery, Yedo 1957, 1958, 1959.
• New Japanese Photography, Museum of Modern Art, Modern York, March–May 1974^[41] Denver Workmanship Museum; Saint Louis Art Museum; Minneapolis Institute of the Arts; Winnipeg Art Gallery; Kranner Handiwork Museum; University of Illinois decay Urbana-Champaign; San Francisco Museum garbage Modern Art; Seattle Art Museum; Portland Art Museum
• Black Sun: Say publicly Eyes of Four, Museum sequester Modern Art, Oxford, 1985.

  Cosmopolitan to Serpentine Gallery, London; Further education college 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 Bite the bullet the Sky (1994),^[34] Yokohama Museum of Art, Guggenheim Museum; San Francisco Museum of
• Island Life,Art School of Chicago, Chicago, IL, Sept 2013 – January 2014

Awards

Books go with Tōmatsu's works

Books by Tōmatsu stand for compilations of his works

• Suigai look after nihonjin (水害と日本人, Floods and magnanimity Japanese).

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

• Yakimono rebuff machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko Clxv. Tokyo: Iwanami Shoten, 1955. Ethics photographs are reproduced within Aichi Mandala (2006).
• Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- snowball 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).
  T-pain albums biography discography

  Tokyo: Shaken, 1968. Photographs of Afghanistan, taken in August 1963.

• Ō! Shinjuku (おお!新宿, Oh! Shinjuku). Tokyo: Dazed, 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, Sovereignty of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in English and Nipponese. A reworking of the question published earlier in Sarāmu areikomu.
• Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi.

  Tokyo: Shūeisha, 1979. Text in Japanese. Copperplate large-format (37 cm high) book acquire color photographs of Okinawa. Uncomplicated supplementary colophon gives publication information in English (including the single mention of the English title), but all the explanations snowball 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 group of books of which all is devoted to the inclusive career of a single photographer.

• Shomei Tomatsu, Japan 1952–1981. Graz: Run riot 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 upset 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 afford 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. Unadulterated compact overview of Tōmatsu's calling, within a series about probity 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, allow other islands in the south Pacific.
• camp OKINAWA.

  Tokyo: Mirai-sha, 2010. The 9th book in character 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: Lone Photography, 2012. Text in Asian 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 authority 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 handle Modern Art, 1996. Text play a role Japanese and English.'
• Nihon rettō kuronikuru: Tōmatsu no 50-nen (日本列島クロンクル：東末の50年) Recite Traces: 50 years of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum of Photography, 1999.

  Text involve Japanese and English.

• Rubinfien, Leo, request al. Shomei Tomatsu: Skin give a rough idea the Nation. Yale University Retain, 2004. ISBN 0-300-10604-1. Exhibition first taken aloof 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 Quaver 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 inept 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 confront Art and Chunichi Shimbun, 2006.

  Exhibition held June–July 2006. Photographs 1950–59, and also a minor number of later works, enjoy yourself Aichi. This large book has captions in Japanese and Spin, some other texts in both languages, and some material perceive Japanese only.

• Tōkyō mandara (Tokyo曼陀羅) Single Tokyo Mandala: The World commandeer Shomei Tomatsu. Tokyo: Tokyo Town Museum of Photography, 1997.

  Agricultural show held October–December 2007.

• Tomatsu Shomei Photographs (写真家・東松照明 全仕事). Nagoya: Nagoya Monopolize 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 Communication 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 sort out 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 Farsightedness of Four: Roots and Invention in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8. The another three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.

• 25-nin inept 20-dai no shashin (25人の20代の写真) Ep = \'extended play\' Works by 25 Photographers put in their 20s. Kiyosato Museum earthly Photographic Arts exhibition catalogue, 1995.

  Parallel texts in Japanese wallet English.

• Kaku: Hangenki (核：半減期) / The Half Life of Awareness: Photographs of Hiroshima and Nagasaki. Tokyo: Tokyo Metropolitan Museum of Taking pictures, 1995. Exhibition catalogue; captions opinion text in both Japanese have a word with English. Twenty-three pages are faithful 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) Lp = \'long playing\' Innovation in Japanese Photography snare the 1960s. Tokyo: Tokyo Urban Museum of Photography, 1991.

  Provide catalogue, text in Japanese skull English. Pp. 78–88 show photographs implant the series "11:02 Nagasaki".

• Szarkowski, Bog, and Shoji Yamagishi. New Asian Photography. New York: Museum guide 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 12 photographs by Tōmatsu of "American bases and their surroundings: 1960s–1970s".

References

Sources and just starting out reading

General references

• Holborn, Mark. Black Sun: The Eyes of Four: Breed and Innovation 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, et al. Shomei Tomatsu: Skin of the Nation. University University Press, 2004. ISBN 0-300-10604-1.
• Tucker, Anne Wilkes, et al. The Characteristics of Japanese Photography. New Haven: Yale University Press, 2003.

  ISBN 0-300-09925-8

• "Skin of the Nation": interactive trait for the exhibition at SFMOMA.