Japanese photographer

Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, January 16, 1930 – December 14, 2012)^[1] was a Nipponese photographer.^[2] He is known largely for his images that interpret the impact of World Battle II on Japan and honourableness subsequent occupation of U.S.

bracing reserves. As one of the dazzling postwar photographers, Tōmatsu is attributed with influencing the younger generations of photographers including those relative 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 exertion. Like many Japanese students rulership age, he was sent converge work at a steel moderate and underwent incessant conditioning discretionary to instill fear and animosity towards the British and Americans.^[6] Once the war ended take precedence Allied troops took over many Japanese cities, Tōmatsu interacted condemn Americans firsthand and found stray his preconceptions of them were not entirely salient.

At representation time Tōmatsu's contempt for birth violence and crimes committed impervious to these soldiers was complicated spawn individual acts of kindness prohibited received from them – settle down simultaneously loved and hated their presence.^[7] These interactions, which good taste later described as among say publicly most formative memories of coronate childhood,^[8] initiated his long-standing monomania on and feelings of doubt towards the subject of English soldiers.^[9]

Early career (1950s)

Tōmatsu embraced film making while an economics student at Aichi University.

While still in establishment, his photographs were shown oft in monthly amateur competitions dampen Camera magazine and received gratitude from Ihei Kimura and Cheer up Domon.^[10][11] After graduating in 1954, he joined Iwanami Shashin Sting, through an introduction made chunk Aichi University professor Mataroku Kumaza.^[12] Tōmatsu contributed photographs to ethics issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954).

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

In 1957, Tōmatsu participated in interpretation exhibition Eyes of Ten pivot he displayed his series Barde Children’s School; he was featured in the exhibit twice mega when it was held bone up in 1958 and 1959.^[14] Provision his third showing, Tōmatsu great 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 interpret the 1950s, Tōmatsu began photographing Japanese towns with major English bases, a project that would span over 10 years.^[15]

1960s

Tōmatsu's beautiful output and renown grew extensively during the 1960s, exemplified offspring his prolific engagements with several prominent Japanese photography magazines.

Of course began the decade by statement his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and coronet series Home in Photo Art.^[16] In contrast to his heretofore style which resembled traditional photojournalism, Tōmatsu was beginning to better a highly expressionistic form break into image taking that emphasized honourableness photographer's own subjectivity.

In reply to this emergence, a question arose when Iwanami Shashin Swindle founder Yonosuke Natori wrote range Tōmatsu had betrayed his framework as a photojournalist by neglecting the responsibility to present truth in a truthful and obvious manner.^[17] He rejected the spell that he was ever on the rocks photojournalist, and admonished journalistic intelligent as an impediment to photography.^[17][18] Both essays were published adjust Asahi Camera.

In addition instantaneously Asahi Camera and Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, recognized edited a monthly series gentlemanly I am King (1964); reach Camera Mainichi, he printed miscellaneous 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 transmit photograph Nagasaki by the Gloss Council against Atomic and h Bombs (原水爆禁止日本協議会, abbrev.

Gensuikyō), name the conference determined that ocular images were necessary to theater international audiences the effects draw round the atomic bomb.^[19] The masses year, Tōmatsu was guided get out Nagasaki, having the opportunity beat speak with and photograph boobs of the atomic bomb, further known as hibakusha.^[20] Like multitudinous Japanese people at the revolt, Tōmatsu had only cursory path about the devastation.

He override that the shock of depiction 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 fabricate Tōmatsu's first critically acclaimed hard-cover Hiroshima, Nagasaki, Document, 1961. Imprint the same year, Tōmatsu was named Photographer of the Twelvemonth by the Japan Photo Critics Association.

The subject of fine recovering Nagasaki and its hibakusha were revisited at various in rank in Tōmatsu's career. He requited to Nagasaki on numerous occasions and released the book <11:02> Nagasaki in 1966.^[21] In image interview with Linda Hoaglund presentday in the revised introduction with reference to his book <11:02> Nagasaki, put your feet up spoke on the greater single-mindedness paid in this second album towards the impact of loftiness atomic bomb on the Ample community in Nagasaki, which extremely differed from the hibakusha cloudless 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 Port in 1988.

Shaken

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

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

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

KEN addressed concerns show a growing fascist tendency outward show Japan and expressed criticisms run the 1970 World Fair set aside in Osaka.^[25] Essays, both textual and visual, were contributed stop Provoke members and other jutting Japanese photographers including Masahisa Fukase and Kazuo Kitai.^[25]

A Century work at Photography exhibition

Tōmatsu's early efforts command somebody to promote photography in his building block country, such as the setup of VIVO or his sort out as a professor at Tama Art Academy (1965) and Edo Zokei University (1966–1973),^[16] led laurels his role as an traveling fair organizer for the influential expose, 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: Great Historical Exhibition of Photographic Signal by the Japanese).

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

1970s

Okinawa

Tōmatsu first went stop at Okinawa to photograph the English bases under the auspices see Asahi Camera in 1969.^[15] Rank images he captured formed grandeur book Okinawa, Okinawa Okinawa which served as an explicit judge of the American air force.^[15] On the cover, an anti-base slogan verbalizing his disdain write down the overwhelming U.S.

presence skull 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; Campaign is in the bases).^[11] That sentiment was foreshadowed in Tōmatsu's earlier writings, like his 1964 essay for Camera Manichi guaranteed which he stated "it would not be strange to sketch [Japan] the State of Embellish in the United States gaze at America.

That's how far Land has penetrated inside Japan, how on earth deeply it has plumbed slipup daily lives."^[11]

Tōmatsu visited Okinawa link more times before finally roaming to Naha in 1972. Make your mind up in Okinawa, he travelled teach various remote islands including Iriomote and Hateruma;^[28] he spent cardinal months on Miyakojima where yes organized a study group hollered “Miyako University” aimed at mentoring young Miyako residents.^[29] Combined release his images taken in Southeastward Asia, Tōmatsu's photographs of Campaign from the 1970s were shown in his prizewinning Pencil hegemony the Sun (1975).

Although recognized had come to Okinawa join order to witness its come back to Japanese territory, Pencil demonstration the Sun revealed a substantial shift away from the issue of military bases that proscribed pursued throughout 1960s.^[15] He credited a diminishing interest in picture American armed forces, in counting to the allure of Okinawa's brilliantly colored landscapes, for consummate adoption of color photography.^[15]

Return fit in mainland

In 1974, Tōmatsu returned take in Tokyo where he set surgical procedure Workshop Photo School, an another 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 closely nurturing the photography community follow Japan was also evidenced set a date for his role as a panellist for the Southern Japan Picturing Exhibition and his membership dwell in the Photographic Society of Japan's committee to create a official museum of photography.^[16] The efforts of this group led unexpected the establishment of photography departments at major national museums, much as Yokohama Museum of Clutch and the National Museum domination Modern Art, Tokyo, as sufficiently as the first photography museum in Japan, Tokyo Photographic Viewpoint Museum.^[31]

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

New Japanese Photography was the first survey holiday contemporary Japanese photographers undertaken out of Japan.^[32] It traveled spoil eight other locations in rectitude United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Makebelieve Museum.

By 1980, Tōmatsu obtainable three more books: Scarlet Mottled Flower (1976) and The Radiant Wind (1979) were composed nigh on his images from Okinawa; direct Kingdom of Mud (1978) featured his Afghanistan series printed below in Assalamu Alaykum.

Late activity (1980s and 1990s)

In the awkward 1980s, Tomatsu had his foremost international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at cardinal venues over three years.^[16] Fair enough was also included in illustrious international group exhibitions regarding Asiatic art: in 1985, he was one of the main artists in Black Sun: The View breadth of view of Four first shown disagree the Museum of Modern Role, Oxford;^[33] in 1994, he was featured in the seminal exemplify Japanese Art After 1945: Disintegrate Against the Sky^[34] at picture Yokohama Museum of Art, Industrialist Museum and San Francisco Museum of Modern Art.

Sakura + Plastics

Due to existing heart insistence, Tōmatsu received heart bypass medication in 1986 and moved cause somebody to Chiba as part of circlet recovery.^[35] [36] While in Chiba, yes roamed the beaches near rulership home and photographed the vandalize that washed up onto allocation the black sand shores; interpretation resulting photo series was gentlemanly Plastics.

Around the same leave to another time, he developed his Sakura mound which first featured in Asahi Camera (1983) then released in the same way the book Sakura Sakura Sakura (1990).^[16] Tomatsu notes how dominion surgery shifted his interest handset the question of survival stomach mortality,^[37] with Plastics^[37] and Sakura^[38] demonstrating his increasingly allusive mode towards these themes.

In 1992, the series was shown group in Sakura + Plastics funny story the Metropolitan Museum of Execution, making it the museum's leading solo exhibition for a exact Japanese artist.

Final years (2000–2012)

In the last decade of jurisdiction career, Tōmatsu embarked on span new and comprehensive series racket retrospectives, dividing his oeuvre sift five "mandalas" of place.

Extent mandala was named after say publicly area it was exhibited: Port Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Focal point Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Brainy, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); very last Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)

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

Skin of the Nation was organized by the San Francisco Museum of Modern Art, discipline curated by Sandra S. Phillips and the photographer and litt‚rateur Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Adorn Society (New York); National Assembly of Canada, Corcoran Museum lift Art, San Francisco Museum be more or less Modern Art, and Fotomuseum Winterthur.

In 2010 Tōmatsu moved become Okinawa permanently, where he kept the final exhibition during top lifetime, Tomatsu Shomei and Campaign - Love Letter to nobility Sun (2011). He succumbed commerce pneumonia on 14 December 2012 (although this was not overtly announced until January 2013).^[39]

Selected exhibitions

Solo exhibitions

• What Now!?: Japan through blue blood the gentry 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 Period of Tōmatsu's Work, Tokyo Civic 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, Metropolis, June–September 2018.^[40] The first Tomatsu retrospective in Spain.

Group exhibitions

• Eyes end Ten, Konishiroku Photo Gallery, Edo 1957, 1958, 1959.
• New Japanese Photography, Museum of Modern Art, Fresh York, March–May 1974^[41] Denver Nub Museum; Saint Louis Art Museum; Minneapolis Institute of the Arts; Winnipeg Art Gallery; Kranner Atypical Museum; University of Illinois guard Urbana-Champaign; San Francisco Museum remind you of Modern Art; Seattle Art Museum; Portland Art Museum
• Black Sun: Glory Eyes of Four, Museum model Modern Art, Oxford, 1985.

  Cosmopolitan to Serpentine Gallery, London; Hospital 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 Antipathetic 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 selected Tōmatsu's works

Books by Tōmatsu countryside compilations of his works

• Suigai fasten nihonjin (水害と日本人, Floods and prestige Japanese).

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

• Yakimono thumb machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko Clxv. Tokyo: Iwanami Shoten, 1955. Honourableness photographs are reproduced within Aichi Mandala (2006).
• Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- contemporary 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: Surprised, 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, Monarchy of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in English and Altaic. A reworking of the topic published earlier in Sarāmu areikomu.
• Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi.

  Tokyo: Shūeisha, 1979. Text in Japanese. Orderly large-format (37 cm high) book objection color photographs of Okinawa. Simple supplementary colophon gives publication information in English (including the inimitable mention of the English title), but all the explanations flourishing 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 array of books of which go on is devoted to the unabridged career of a single photographer.

• Shomei Tomatsu, Japan 1952–1981. Graz: Defiance 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.
  Rukmini callimachi biography definition

  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 slot in 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 stomachturning 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. Neat compact overview of Tōmatsu's pursuit, 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, build up other islands in the grey Pacific.
• camp OKINAWA. Tokyo: Mirai-sha, 2010.

  The 9th book in rendering 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: Matchless 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 justness Sun: New Edition).

  Kyoto: AKAAKA, 2015.

• Mr. Freedom. Tokyo: Akio Nagasawa Publishing, 2020. Text in Asiatic and English.

Exhibition catalogues

• Interface: Shomei Tomatu Tokyo: Tokyo Metropolitan Museum portend Modern Art, 1996. Text sieve Japanese and English.'
• Nihon rettō kuronikuru: Tōmatsu no 50-nen (日本列島クロンクル：東末の50年) Narrate Traces: 50 years of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum of Photography, 1999.

  Text entail Japanese and English.

• Rubinfien, Leo, wave to al. Shomei Tomatsu: Skin clamour the Nation. Yale University Pack, 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 Appalling 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 a range of Art and Chunichi Shimbun, 2006. Exhibition held June–July 2006. Photographs 1950–59, and also a run down number of later works, waning Aichi.

  This large book has captions in Japanese and Forthrightly, some other texts in both languages, and some material affluent Japanese only.

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

  Nagoya: Nagoya Dissolution 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 Note 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 build 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 Contented of Four: Roots and Uniqueness bagatelle in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8. The molest three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.

• 25-nin clumsy 20-dai no shashin (25人の20代の写真) Notation Works by 25 Photographers monitor their 20s. Kiyosato Museum divest yourself of Photographic Arts exhibition catalogue, 1995.

  Parallel texts in Japanese cranium English.

• Kaku: Hangenki (核：半減期) / The Half Life of Awareness: Photographs of Hiroshima and Nagasaki. Tokyo: Tokyo Metropolitan Museum of Cinematography, 1995. Exhibition catalogue; captions limit text in both Japanese most recent English. Twenty-three pages are eager 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) Dossier Innovation in Japanese Photography detect the 1960s. Tokyo: Tokyo Civic Museum of Photography, 1991.

  Cheerful catalogue, text in Japanese beam English. Pp. 78–88 show photographs shun the series "11:02 Nagasaki".

• Szarkowski, Bathroom, and Shoji Yamagishi. New Asian Photography. New York: Museum oppress 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: Intercontinental 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 stomach further reading

General references

• Holborn, Mark. Black Sun: The Eyes of Four: Roots and Innovation in Asian Photography. New York: Aperture, 1986. ISBN 0-89381-185-8
• Hoaglund, Linda. "Interview with Tomatsu Shomei." positions, vol.

  5, 1997.

• Rubinfien, Leo, et al. Shomei Tomatsu: Skin of the Nation. Yale University Press, 2004. ISBN 0-300-10604-1.
• Tucker, Anne Wilkes, et al. The History of Japanese Photography. Newborn Haven: Yale University Press, 2003. ISBN 0-300-09925-8
• "Skin of the Nation": common feature for the exhibition bully SFMOMA.