The history of photography in Japan begins in the 19th century and has continued to be a prominent art form into the present era. ^[1]

19th-century [ edit ]

Importation of photography [ edit ]

In 1848 (Edo era), a camera for daguerreotype was imported by a Dutch ship to Japan (Nagasaki, 長崎). It is said that this was the first camera in Japan. During Edo era, the import and the export had been prohibited ( sakoku , 鎖?) by the Edo Government ( Edobakufu , 江?幕府), except that only Dutch ships had been permitted to export and import various goods at Nagasaki Port. Therefore, the first camera was introduced at Nagasaki. This camera was imported by Ueno Toshinoj? (1790?1851, 上野俊之丞) and in 1849 passed to Shimazu Nariakira (1809?1858, 島津?彬), who later would become a feudal lord ( daimy? , 大名) of Satsuma Domain (薩摩藩, now Kagoshima-ken ). ^[2]

In Satsuma Domain, detailed study with respect to photography had been done, but it took almost ten years from the acquisition of the first camera to taking the first photograph. In 1857, Shimazu Nariakira's photograph was taken by Ichiki Shir? (1828?1903, 市?四?) and Ujuku Hikoemon (宇宿彦右衛門) (daguerreotype). This is said to be the first photograph taken by Japanese and still exist and can be seen at Sh?ko Sh?seikan (?古集成館, Kagoshima-city, Japan).

In 1854, Convention of Kanagawa (日米和親?約, Nichi-Bei Washin J?yaku , "America-Japan Treaty of Amity and Friendship") was concluded between U.S. and Japan, Anglo-Japanese Friendship Treaty (日英和親?約, Nichi-Ei Washin J?yaku ) was concluded between Britain and Japan, and Treaty of Shimoda (日露和親?約, Nichi-Ro Washin J?yaku ) was concluded between Russia and Japan. The treaties opened the Japanese ports of Shimoda (in Shizuoka Prefecture), Hakodate (in Hokkaido Prefecture) and Nagasaki to the trade. In 1858, Treaty of Amity and Commerce (United States ? Japan) (日米修好通商?約).was concluded between U.S. and Japan and opened the port of Kanagawa, but soon the port of Yokohama (?浜), which is close to Kanagawa, opened for the trade with foreign countries in exchange to the port of Kanagawa. The trade based on these treaties began in 1858 at Yokohama, Nagasaki and Hakodate. This is called Kaikoku (開?, to open the nation for foreign countries and trades) in Japanese language. Thanks to Kaikoku , more and more cameras and other photography-related equipment and materials had been imported to Japan. Further some foreign photographers, such as Felix Beato came to Japan and took many photographs of Japan. ^[3]

In 1862, Ueno Hikoma (1838?1904, 上野彦馬) opened his photo studio in Nagasaki and Shimooka Renjo (1823?1914, 下岡蓮杖) opened his photo studio in Noge (野毛, soon later included within Yokohama), in the same year, but independently. The open of these two photo studios for portraits indicated the new era of Japanese photography.

Professional photographers in the Meiji era [ edit ]

After the opening of Ueno Studio and Shimooka Studio, around the turning point between Edo Era and Meiji Era (1868), several new photo studios were opened, such as that of Kuichi Uchida (1844?1875, ?田九一) in 1865 in Osaka and in 1866 moved to Yokohama, that of Yohei Hori (or HORI Masumi, 1826?1880, 堀?兵衛 (堀?澄)) in 1865 in Kyoto, that of K?kichi Kizu (1830?1895, 木津幸吉) in 1866 in Hakodate, that of Rihei Tomishige (1837?1922, ?重利平) in Yanagawa, Chikugo in 1866 and that of Yokoyama Matsusabur? (1838?1884, ?山松三?).

Among these photographers (Shashin-shi, ??師), Uchida Kuichi is most famous for his photographs of Meiji Emperor (明治天皇) in 1872 and 1873, which photographs have been called Goshin'ei (御?影) and were used as public portraits of Meiji Emperor. "?(shin)" means "true" and "影(ei)" means "(photographic) image" or "portrait" and "御(go)" means honorific prefix for "?影". In Meiji Era, only very limited persons, such as prime ministers, could meet Meiji Emperor in person and most Japanese people in Meiji Era had no chance to see Meiji Emperor. But Meiji Emperor's image was necessary for him to govern Japan and Japanese nations. Therefore, Meiji Government prepared "御?影" and used "御?影" for Emperor's governance and Meiji Government's governance.

As other photographers, Kakoku Shima (1827?1870島霞谷) and Ry? Shima (1823?1899, 島隆) should be mentioned. They were a husband and a wife and began taking photography together around 1863 or 1864, and Ry? Shima was called the first woman professional photographer.

Further, around the 1860s and 1900, Yokohama-shashin (Yokohama Photo, Photographs selling or distributing in Yokohama, ?浜??) was very popular. Yokohama-shashin was a photograph of Japanese scenery, Japanese people (especially Japanese women) and Japanese cultures and a very widely used souvenir especially for foreign people. Among photographers for Yokohama-shashin, Felix Beato and Kusakabe Kimbei (1841?1934, 日下部金兵衛) were very famous.

Because of Kaikoku, many foreign people came to Japan. Further, after Meiji Ishin (Meiji Government was established in 1868), many Japanese were able to travel within Japan without breaking laws and began to travel within Japan. Yokohama was a suitable place to visit both for foreign people and Japanese people, and Yokohama-shashin attracted such travellers very much.

Two main characteristics of Yokohama-shashin were;

1. a well-decorated album-style photographs, and
2. hand-colored photographs.

But towards the end of the 19th century, picture post cards, which were much cheaper than Yokohama-shashin, became very popular and were widely used in Japan, and many amateur photographers were emerging, who liked to take pictures by themselves than to buy expensive Yokohama-shashin. These were the major reasons for Yokohama-shashin to decline.

In the 1880s, photographers in a new generation and new types began their activities. Reiji Esaki (1845?1910, 江崎?二), who took photographs of experimental torpedo explosion in Sumida river in 1883, and Kazuma Ogawa (1860?1929, 小川一眞), who not only took photographs but also was the managers of a printing factory, were particularly famous among them.

In the 1860s and 1870s, many photographs of Hokkaid? were taken, which photographs are called Hokkaid? Kaitaku Shashin (Photographs of Developments in Hokkaid?, 北海道開拓??). In the 1860s and 1870s, Hokkaid? was under the development by the Japanese Government. The Government in Tokyo needed detailed reports of the development in writing, and they thought reports with photographs should be better and the Government requested some photographers to take photographs of the development in Hokkaid?. Such photographers included Tamoto Kenz? (1832?1912, 田本?造), K?kichi Ida (1846?1911, 井田?吉), Raimund von Stillfried-Ratenicz (1839?1911), Seiichi Takebayashi (1842?1908, 武林盛一) and Sakuma Hanz? (1844?1897, 佐久間範造).

Emerging amateur photographers [ edit ]

Around the middle of the 1880s, photographers (??師) began to use gelatin dry plates very widely. Before the spread of gelatin dry plates, the wet collodion process (?式コロジオン法) was ordinary process for photography in Japan and to use this process was very difficult in technical points and also it costs a considerable sum of money. It means almost no amateur photographers can exist without gelatin dry plates.

Two famous examples of earliest amateur photographers in Japan were as follows;

• Kamei Koreaki (1861?1896, ?井?明), who was a count and studied aesthetics in England and Germany, took photographs of the Sino-Japanese War (日???) in 1895.
• Kajima Seibei (1866?1924, 鹿島?兵衛) took many photographs in the 1890s, such as a life-size portrait of Manzabur? Umewaka (NO (能) actor) and a big-size photograph of Mt. Fuji.

Wide spread of gelatin dry plates and small-sized cameras led to the era of prominent amateur photographers in the 20th century in Japan.

Other major photographers [ edit ]

• HASEGAWA Kichijir? (fl. 1870s, 長谷川吉次?) who is included in "The History of Japanese Photography" (About this source, please refer to "Further reading" below)

20th century [ edit ]

Era of Geijutsushashin (Era of Pictorialism) [ edit ]

• In 1904, Y?tsuzu-sha (ゆふつ?社) was founded by Tetsusuke Akiyama, Seiichi Kat? and other photographers.
• In 1904, Naniwa Photography Club (Naniwa Shashin Club, 浪華????部) was founded in Osaka.
• In 1907, Tokyo Photographic Research Society (Tokyo Shashin Kenky?kai, 東京???究?) was founded in Tokyo.
• In 1912, Aiy? Photography Club (Aiy? Shashin Club, 愛友????部) was founded in Nagoya and Chotaro Hidaka (1883?1926, 日高長太?), Aitar? Masuko (1882?1968, 益子愛太?) and Matsutaro Ohashi (1891?1941, 大橋松太?) actively made photographs as a member of this Club.
• In 1912, Yonin Kai was founded by Yasuz? Nojima (1889?1964, 野島康三) and other three photographers.
• In 1921, Shashin Geijutsu Sha (??芸術社) was founded and the first issue of Shashin Geijutsu (Photographic Art, ??芸術) was published by Shinz? Fukuhara (1883?1948, 福原信三), Ros? Fukuhara (1892?1946, 福原路草) and other photographers.
• In 1922, Japan Photographic Art Association (Nihon K?ga Geijutsu Ky?kai, 日本光?芸術協?) was founded by Hakuy? Fuchikami (1889?1960, 淵上白陽) and the first issue of Hakuy? (白陽) was published.
• In 1922, the first issue of Geijutsu Shashin Kenky? (Art Photography Studies, 芸術???究) was published.
• In 1922, a photographic monograph Paris et la Seine, Paris and the Seine ( Pari to Seinu , 巴里とセイヌ) and in 1923, another monograph, Light and its Euphony ( Hikari to sone Kaich? , 光と其諧調) were published by Shinz? Fukuhara.
• In the early 1920s, ves-tan school (ベス?派) was formed by Masataka Takayama (1895?1981, 高山正隆), Makihiko Yamamoto (1893?1985, 山本牧彦) and Jun Watanabe.

Era of Shink?shashin (Era of New Photography) [ edit ]

• In the early and mid-1920s, there appeared some photographic tendencies called constructivism school (構成派) within Nihon K?ga Geijutsu Ky?kai members, for example, in Hakuy? Fuchikami's works.
• In 1923, the first issue of Asahi Graph (The Asahigraph Weekly, アサヒグラフ) was published.
• In 1923, there occurred Kant? Great Earthquake ( Kant? Daishinsai , ?東大震災).
• In 1924, the first issue of Photo Times (フォトタイムス) was published.
• In 1926, the first issue of Asahi Camera (アサヒカメラ) was published.
• In 1927, Iwata Nakayama returned to Japan after several years in the U.S. and Europe,
• In 1930, Tampei Photography Club (Tampei Shashin Club) (February 1930-c. 1941, Osaka) (丹平????部) was founded by Bizan Ueda and other photographers and later Nakaji Yasui (1903?1942, 安井仲治) entered this Club.
• In 1930, Ashiya Camera Club (芦屋カメラクラブ) was founded by Iwata Nakayama (1895?1949, 中山岩太), Kambei Hanaya (1903?1991, ハナヤ勘兵衛) and other photographers.
• In 1930, New Photography Research Society (Shinko Shashin Kenky?kai, 新興???究?) was founded and the first issue of Shinko Shashin Kenky? (New Photography Studies, 新興???究) was published by Sen'ichi Kimura.
• 1931: German International Traveling Photography Exhibition (?逸?際移動??展, Doitsu Kokusai Id? Shashin Ten; This was a traveling exhibition of "Film und Foto" in Stuttgart, Germany in 1929) was held in Tokyo [April] and Osaka [July].
• In 1932, the first issue of K?ga (Photography, 光?) was published by Yasuz? Nojima, Iwata Nakayama and Ihee Kimura (or Ihei Kimura).
• In 1932, Manchuria Photographic Artists Association (Mansh? Shashin Sakka Ky?kai) (?洲??作家協?) was founded and in 1933, Mansh? Graph (Pictorial Manchuria, ?洲グラフ) was published by Hakuy? Fuchikami.
• In 1932, a photographic monograph, Camera, Eye x Iron, Construction ( Camera, Me x Tetsu K?sei , カメラ?眼×??構成) was published by Masao Horino (1907?1999, 堀野正雄).
• In 1933, a photographic monograph, Early Summer Nerves ( Shoka Shinkei , 初夏神?) was published by Kiyoshi Koishi (1908?1957, 小石?).
• In 1936, a photographic monograph, the Reason for Sleep ( Nemuri no Riy? , 眠りの理由) was published by Ei-Q.
• In 1937, Avant-Garde Image Group (Avant-Garde Z?ei Sh?dan, アヴァンギャルド造影集?) was founded by Gingo Hanawa (1894?1957, 花和銀吾), Terushichi Hirai (1900?1970, 平井輝七) and other photographers.
• In 1938, Avant-Garde Photography Association (Zen'ei Shashin Ky?kai, 前衛??協?) was founded by Sh?zo Takiguchi and some photographers.
• In 1939, Nagoya Photo Avant-Garde (名古屋フォトアバンガルド) was founded by Minoru Sakata (1902?1974, 坂田稔), Kansuke Yamamoto (1914?1987, 山本悍右) and other photographers.
• In 1939, Societe IRF (ソシエテ?イルフ) was founded in Fukuoka by Wataru Takahashi (1900?1944, 高橋渡) and other photographers.
• In 1940, a photographic monograph, Mesembryanthemum ("Mesem Zoku", メセム?) was published by Yoshio Shimozato.
• In 1940, a photographic monograph, Light ("Hikari", 光) was published by Tampei Shashin Club.
• In 1942, Nakaji Yasui died.

Era of H?d?shashin (Era of Photojournalism) [ edit ]

• In 1932, Y?nosuke Natori returned to Japan from Germany as a correspondent photographer of Ullstein-Verlag .
• In 1933, Nippon K?b? (Japan Studio, 日本工房) was founded by Y?nosuke Natori, but in 1934 most of main members other than Natori has left Nippon Kobo and founded Ch?? K?b? (Metropolitan Studio, 中央工房). Then Natori reorganized Nippon K?b?.
• In 1934, the first issue of Nippon was published by Nippon K?b? .
• In 1938, the first issue of Shashin Sh?h? (Photo Weekly, ??週報) was published.
• In 1941, T?h?sha (Far East Company, 東方社) was founded.
• In 1942, the first issue of Front was published by T?h?sha .

After WWII, there appeared the era of H?d?shashin (era of photojournalism) again, mainly led by Ken Domon (1909?1990, 土門拳), Ihee Kimura (Ihei Kimura, 1901?1974, 木村伊兵衛) and Y?nosuke Natori (1910?1962, 名取洋之助), all of three were very active even during WWII. Avant-garde photography including surrealism and pictorialism photography had almost disappeared behind photojournalism after WWII because photography other than photojournalism which supported Japanese government and Japanese military powers was completely oppressed by the Japanese government during WWII. It took several years before avant-garde photography came back to the stage of the history of Japanese photography.

21st century [ edit ]

This section is empty. You can help by adding to it . ( January 2011 )

References [ edit ]

Further reading [ edit ]

• The History of Japanese Photography, The Museum of Fine Arts, Houston, Yale University Press, 2003, ISBN   0300099258
• Modern Photography in Japan 1915?1940, 2001, ISBN   0933286740