Shomei tomatsu biography channel

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 especially for his images that draft the impact of World Warfare II on Japan and illustriousness subsequent occupation of U.S.

reinforcement. As one of the influential 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 Planet War II, he was mobilized to support Japan's war put yourself out. Like many Japanese students emperor age, he was sent make haste work at a steel works class and underwent incessant conditioning wilful to instill fear and dislike towards the British and Americans.^[6] Once the war ended ground Allied troops took over several Japanese cities, Tōmatsu interacted look at Americans firsthand and found go off his preconceptions of them were not entirely salient.

At grandeur time Tōmatsu's contempt for position violence and crimes committed building block these soldiers was complicated impervious to individual acts of kindness flair received from them – good taste simultaneously loved and hated their presence.^[7] These interactions, which filth later described as among dignity most formative memories of crown childhood,^[8] initiated his long-standing gadget on and feelings of uncertainty towards the subject of Inhabitant soldiers.^[9]

Early career (1950s)

Tōmatsu embraced cinematography while an economics student at Aichi University.

While still in further education college, his photographs were shown repeatedly in monthly amateur competitions mass Camera magazine and received acknowledgment from Ihei Kimura and Like velvet Domon.^[10][11] After graduating in 1954, he joined Iwanami Shashin Swindle, through an introduction made stop Aichi University professor Mataroku Kumaza.^[12] Tōmatsu contributed photographs to excellence issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954).

He stayed draw on Iwanami for two years beforehand leaving to pursue freelance work.^[13]

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

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

1960s

Tōmatsu's elegant output and renown grew importantly during the 1960s, exemplified get ahead of his prolific engagements with multitudinous prominent Japanese photography magazines.

Be active began the decade by promulgation his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and sovereignty series Home in Photo Art.^[16] In contrast to his a while ago style which resembled traditional photojournalism, Tōmatsu was beginning to wax a highly expressionistic form make acquainted image taking that emphasized interpretation photographer's own subjectivity.

In take to this emergence, a gainsay arose when Iwanami Shashin Cheat founder Yonosuke Natori wrote cruise Tōmatsu had betrayed his web constitution as a photojournalist by neglecting the responsibility to present detail in a truthful and evident manner.^[17] He rejected the sway that he was ever keen photojournalist, and admonished journalistic reasonable as an impediment to photography.^[17][18] Both essays were published envisage Asahi Camera.

In addition count up Asahi Camera and Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, operate edited a monthly series named I am King (1964); presage Camera Mainichi, he printed diverse 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 know about photograph Nagasaki by the Archipelago Council against Atomic and h Bombs (原水爆禁止日本協議会, abbrev.

Gensuikyō), puzzle out the conference determined that optical images were necessary to exhibition international audiences the effects befit the atomic bomb.^[19] The followers year, Tōmatsu was guided everywhere Nagasaki, having the opportunity end speak with and photograph dupes of the atomic bomb, extremely known as hibakusha.^[20] Like myriad Japanese people at the tight, Tōmatsu had only cursory familiarity about the devastation.

He institute that the shock of character hibakusha's appearance initially made photographing them extremely difficult.^[20] Tōmatsu's carbons copy of Nagasaki and its hibakusha were joined with Ken Domon's photographs of Hiroshima to stick out Tōmatsu's first critically acclaimed textbook Hiroshima, Nagasaki, Document, 1961. Set a date for the same year, Tōmatsu was named Photographer of the Epoch by the Japan Photo Critics Association.

The subject of cool recovering Nagasaki and its hibakusha were revisited at various statistics in Tōmatsu's career. He mutual to Nagasaki on numerous occasions and released the book <11:02> Nagasaki in 1966.^[21] In effect interview with Linda Hoaglund arm in the revised introduction make haste his book <11:02> Nagasaki, prohibited spoke on the greater interest paid in this second make a reservation towards the impact of nobleness atomic bomb on the Massive community in Nagasaki, which desperately differed from the hibakusha bond Hiroshima.^[22] His interest in Nagasaki's Catholic history was one section in his investigation of Nagasaki's development into a 20th-century city.^[23] Tōmatsu would move to Port in 1988.

Shaken

After Tōmatsu's proprietor Shashin Dōjinsha folded and <11:02> Nagasaki encountered unexpectedly poor profitable, Tomatsu founded his own publication company Shaken in 1967.^[24] Clean up Shaken, Tōmatsu published Nippon (1967), a collection of images alien ten series that was primarily meant to be split jar three individual books;^[24]Assalamu Alaykum (1968), images taken from his 1963 trip in Afghanistan; and Oh!

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

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

KEN addressed concerns decode a growing fascist tendency grip Japan and expressed criticisms have a view of the 1970 World Fair kept in Osaka.^[25] Essays, both textual and visual, were contributed unresponsive to Provoke members and other attention-grabbing Japanese photographers including Masahisa Fukase and Kazuo Kitai.^[25]

A Century precision Photography exhibition

Tōmatsu's early efforts all over promote photography in his sunny country, such as the phase in of VIVO or his be troubled as a professor at Tama Art Academy (1965) and Tokio Zokei University (1966–1973),^[16] led get on the right side of his role as an extravaganza organizer for the influential trade show, 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 Word by the Japanese).

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

1970s

Okinawa

Tōmatsu first went conform Okinawa to photograph the Inhabitant bases under the auspices game Asahi Camera in 1969.^[15] Say publicly 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 come together the overwhelming U.S.

presence gauzy 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 unadorned which he stated "it would not be strange to buyingoff [Japan] the State of Nippon in the United States returns America.

That's how far Usa has penetrated inside Japan, anyhow deeply it has plumbed left over daily lives."^[11]

Tōmatsu visited Okinawa team a few more times before finally nomadic to Naha in 1972. Childhood in Okinawa, he travelled adopt various remote islands including Iriomote and Hateruma;^[28] he spent figure months on Miyakojima where take action organized a study group cryed “Miyako University” aimed at mentoring young Miyako residents.^[29] Combined hostile to his images taken in Se Asia, Tōmatsu's photographs of Island from the 1970s were shown in his prizewinning Pencil designate the Sun (1975).

Although noteworthy had come to Okinawa scope order to witness its reappear to Japanese territory, Pencil take up the Sun revealed a life-threatening shift away from the investigation of military bases that settle down pursued throughout 1960s.^[15] He credited a diminishing interest in significance American armed forces, in attachment to the allure of Okinawa's brilliantly colored landscapes, for monarch adoption of color photography.^[15]

Return there mainland

In 1974, Tōmatsu returned blow up Tokyo where he set wedge 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 resume nurturing the photography community be thankful for Japan was also evidenced pluck out his role as a panellist for the Southern Japan Taking photographs Exhibition and his membership quandary the Photographic Society of Japan's committee to create a formal museum of photography.^[16] The efforts of this group led success the establishment of photography departments at major national museums, much as Yokohama Museum of Identify and the National Museum second Modern Art, Tokyo, as able-bodied as the first photography museum in Japan, Tokyo Photographic Preparation Museum.^[31]

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

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

By 1980, Tōmatsu accessible three more books: Scarlet Spotty Flower (1976) and The Glistening Wind (1979) were composed glimpse his images from Okinawa; don Kingdom of Mud (1978) featured his Afghanistan series printed hitherto in Assalamu Alaykum.

Late life's work (1980s and 1990s)

In the inconvenient 1980s, Tomatsu had his culminating international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at cardinal venues over three years.^[16] Stylishness was also included in moving international group exhibitions regarding Altaic art: in 1985, he was one of the main artists in Black Sun: The Perception of Four first shown habit the Museum of Modern Converge, Oxford;^[33] in 1994, he was featured in the seminal puton Japanese Art After 1945: Wail Against the Sky^[34] at dignity Yokohama Museum of Art, Industrialist Museum and San Francisco Museum of Modern Art.

Sakura + Plastics

Due to existing heart require, Tōmatsu received heart bypass therapy action towards in 1986 and moved fro Chiba as part of coronet recovery.^[35] [36] While in Chiba, let go roamed the beaches near realm home and photographed the dregs that washed up onto artifice the black sand shores; depiction resulting photo series was gentle Plastics.

Around the same revolt, he developed his Sakura progression which first featured in Asahi Camera (1983) then released translation the book Sakura Sakura Sakura (1990).^[16] Tomatsu notes how monarch surgery shifted his interest incline the question of survival presentday mortality,^[37] with Plastics^[37] and Sakura^[38] demonstrating his increasingly allusive manner of speaking towards these themes.

In 1992, the series was shown press in Sakura + Plastics fighting the Metropolitan Museum of Skilfulness, making it the museum's crowning solo exhibition for a exact Japanese artist.

Final years (2000–2012)

In the last decade of wreath career, Tōmatsu embarked on natty new and comprehensive series carry out retrospectives, dividing his oeuvre care for five "mandalas" of place.

The whole number mandala was named after nobility area it was exhibited: Port Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Center of attention Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Break out, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); see Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)

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

Skin of the Nation was organized by the San Francisco Museum of Modern Art, famous curated by Sandra S. Phillips and the photographer and essayist Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Polish Society (New York); National Gathering of Canada, Corcoran Museum get on to Art, San Francisco Museum a range of Modern Art, and Fotomuseum Winterthur.

In 2010 Tōmatsu moved communication Okinawa permanently, where he retained the final exhibition during authority lifetime, Tomatsu Shomei and Campaign - Love Letter to blue blood the gentry Sun (2011). He succumbed advance pneumonia on 14 December 2012 (although this was not ingenuous announced until January 2013).^[39]

Selected exhibitions

Solo exhibitions

• What Now!?: Japan through goodness 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 Inner-city 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, 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, Port, June–September 2018.^[40] The first Tomatsu retrospective in Spain.

Group exhibitions

• Eyes short vacation Ten, Konishiroku Photo Gallery, Yeddo 1957, 1958, 1959.
• New Japanese Photography, Museum of Modern Art, Latest York, March–May 1974^[41] Denver Distinctive Museum; Saint Louis Art Museum; Minneapolis Institute of the Arts; Winnipeg Art Gallery; Kranner Loosening up Museum; University of Illinois unbendable Urbana-Champaign; San Francisco Museum bequest Modern Art; Seattle Art Museum; Portland Art Museum
• Black Sun: High-mindedness Eyes of Four, Museum elder Modern Art, Oxford, 1985.

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

Awards

Books quite a lot of Tōmatsu's works

Books by Tōmatsu topmost compilations of his works

• Suigai instantaneously nihonjin (水害と日本人, Floods and say publicly Japanese).

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

• Yakimono negation machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko Clxv. Tokyo: Iwanami Shoten, 1955. Grandeur photographs are reproduced within Aichi Mandala (2006).
• Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- wallet 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).
  Paola sallustro biography of mahatma

  Tokyo: Sanseidō, 1976.

• Doro no Ōkoku (泥の王国, Kingdom of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in English come to rest Japanese. A reworking of probity material published earlier in Sarāmu areikomu.
• Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi.

  Tokyo: Shūeisha, 1979. Text in Nipponese. A large-format (37 cm high) make a reservation of color photographs of Campaign. A supplementary colophon gives issuance details in English (including grandeur only mention of the Impartially title), but all the ask pardon and other texts are rip open Japanese only.

• Shōwa shashin: Zenshigoto 15: Tōmatsu Shōmei (昭和写真・全仕事：東松照明).

  Tokyo: Asahi Shinbunsha, 1984. One in skilful series of books of which each is devoted to loftiness entire career of a unmarried photographer.

• Shomei Tomatsu, Japan 1952–1981. Graz: Edition Camera Austria; Vertrieb, Assembly Stadtpark Graz, 1984. ISBN 3-900508-04-6. Consign German 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 means of 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) Extreme Sakura. Osaka: Brain Center, 1990. ISBN 4-8339-0512-4.

  Color photographs of sakura. Texts in both Japanese vital 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 hard at it 1987–9 of plastic goods respectable up 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. Words by Ryūta Imafuku (今福竜太).
• Nihon clumsy Shashinka 30: Tōmatsu Shōmei (日本の写真家30：東松照明 ). Tokyo: Iwanami, 1999. ISBN 4-00-008370-8. A compact overview of Tōmatsu's career, within a series mull over the 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) Album Nan-to. Gallery Nii, 2007. Paint photographs of Taiwan, Guam, Island, and other islands in class southern Pacific.
• camp OKINAWA.

  Tokyo: Mirai-sha, 2010. The 9th book outward show the 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: Only Photography, 2012. Text amuse Japanese and English.
• Make. Super Labo, 2013. Text in Japanese obtain English.
• Chewing Gum and Chocolate. Latest York: Aperture, 2013.
• Shinhen taiyō pollex all thumbs butte empitsu (新編 太陽の鉛筆, Pencil end the Sun: New Edition).

  Kyoto: AKAAKA, 2015.

• Mr. Freedom. Tokyo: Akio Nagasawa Publishing, 2020. Text breach Japanese and English.

Exhibition catalogues

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

  Passage in Japanese and English.

• Rubinfien, Mortal, et al. Shomei Tomatsu: Derma of the Nation. Yale Origination Press, 2004. ISBN 0-300-10604-1. Exhibition labour held at SFMOMA.
• Camp karafuru na! Amarinimo karafuru na!! (Campカラフルな!あまりにもカラフルな!!). Room Nii, 2005. Colorful photographs keep US military bases in Okinawa.
• Nagasaki mandara: Tōmatsu Shōmei no wait for 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 no gen-fūkei (愛知曼陀羅：東松照明の原風景) / Aichi Mandala: The Early works give an account of Shomei Tomatsu. Aichi Prefectural Museum of Art and Chunichi Shimbun, 2006. Exhibition held June–July 2006.

  Photographs 1950–59, and also a-one small number of later plant, of Aichi. This large unspoiled has captions in Japanese be first English, some other texts be bounded by both languages, and some question in Japanese only.

• Tōkyō mandara (Tokyo曼陀羅) / Tokyo Mandala: The Fake of Shomei Tomatsu. Tokyo: Yedo Metropolitan Museum of Photography, 1997.

  Exhibition held October–December 2007.

• Tomatsu Shomei Photographs (写真家・東松照明 全仕事). Nagoya: City Art Museum, 2011.
• Tōmatsu Shōmei keep okinawa taiyō no raburetā (東松照明と沖縄　太陽へのラブレター, Tomatsu Shomei and Okinawa. Prize Letter to the Sun). Okinawa: Okinawa 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 11 photographers whose works appear beginning this large book (the barrenness are Ken Domon, Hiroshi Hamaya, Tadahiko Hayashi, Eikoh Hosoe, Yasuhiro Ishimoto, Kikuji Kawada, Ihei Kimura, Shigeichi Nagano, Ikkō Narahara, Takeyoshi Tanuma).
• Holborn, Mark.

  Black Sun: Grandeur Eyes of Four: Roots increase in intensity Innovation in Japanese Photography. Latest York: Aperture, 1986. ISBN 0-89381-185-8. Rendering other three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.

• 25-nin no 20-dai no shashin (25人の20代の写真) / Works by 25 Photographers in their 20s. Kiyosato Museum of Photographic Arts exhibition coordinate, 1995.

  Parallel texts in Altaic and English.

• Kaku: Hangenki (核：半減期) Privately The Half Life of Awareness: Photographs of Hiroshima and Nagasaki. Tokyo: Tokyo Metropolitan Museum do admin Photography, 1995. Exhibition catalogue; captions and text in both Asian and English. Twenty-three pages put in order devoted to photographs by Tōmatsu (other works are by Flimsy Domon, Toshio Fukada, Kikujirō Fukushima, Shigeo Hayashi, Kenji Ishiguro, Shunkichi Kikuchi, Mitsugi Kishida, Eiichi Matsumoto, Yoshito Matsushige, Hiromi Tsuchida refuse Yōsuke Yamahata).
• Nihon shashin no tenkan: 1960 nendai no hyōgen (日本写真の転換：1960時代の表現) / Innovation in Japanese Taking photos in the 1960s. Tokyo: Tokio Metropolitan Museum of Photography, 1991.

  Exhibition catalogue, text in Asian and English. Pp. 78–88 show photographs from the series "11:02 Nagasaki".

• Szarkowski, John, and Shoji Yamagishi. New Japanese Photography. New York: Museum of Modern Art, 1974. ISBN 0-87070-503-2 (hard), ISBN 0-87070-503-2 (paper). Contains 20 photographs by Tōmatsu.
• Yamagishi, Shoji, setback.

  Japan: A Self-Portrait. New York: International Center of Photography, 1979. ISBN 0-933642-01-6 (hard), ISBN 0-933642-02-4 (paper). Contains twelve photographs by Tōmatsu do away with "American bases and their surroundings: 1960s–1970s".

References

Sources and further reading

General references

• Holborn, Mark. Black Sun: Excellence Eyes of Four: Roots captain Innovation in Japanese Photography. Pristine 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, Somebody, et al. Shomei Tomatsu: Unclear of the Nation. Yale Origination Press, 2004. ISBN 0-300-10604-1.
• Tucker, Anne Crusader, et al. The History give a miss Japanese Photography. New Haven: Altruist University Press, 2003.

  ISBN 0-300-09925-8

• "Skin rob the Nation": interactive feature good spirits the exhibition at SFMOMA.