Shomei Tomatsu


A photographer looks at everything, which is why he must look from beginning to end. Face the subject head-on, stare fixedly, turn the entire body into an eye and face the world.

Shomei Tomatsu

Kiyo Murakami


I was born in Shizuoka, currently based in Tokyo, Japan. After I graduated from art school, I continued experimenting with various art – illustration, design, music, etc. But I found best way to express myself through the world of photography.

I find inspiration in paintings, music, and movies – old paintings and classic picture books in particular, but my most creative ideas come from my childhood memories and dreams. Some of my work are self-portraits, something I do not consider narcissistic, but rather an adventure in self-discovery that often has the benefit of being “therapeutic” as well.

I love to make collaborative work with talented people. my friends, musicians and performers – they’re helping my creativity as well.

Kishin Shinoyama


Kishin Shinoyama’s offerings from the 1960’s not only document a decade, but are also invaluable to any survey of Tokyo photography from that period. His work reveals much about the era, depicting snapshots of the student protest movement, fashion shows, dancers, avant-garde theatre troops and of course the nude shots that would subsequently form a major motif in his oeuvre.

1960’s Japan was a politically charged place experiencing rapid economic growth under the alliance with the United States. Politics, culture, society… this was the decade when ‘possibilities’ reached a critical point as contradicting elements were forced to react with one another. The photographs emerging from the Japanese capital during this period constitute the place where this metamorphosis occurred in the most radical way, and it was in the midst of this charged atmosphere that Shinoyama was taking his photographs.

The Sixties by Kishin are a vital record of how Shinoyama rediscovered and redefined photography. This was not by using photography to critique the era, as was the case with many of his contemporaries, but by bringing a criticality to the photograph itself. Inspired by the Apollo moon landing, Shinoyama’s Death Valley photographs were arranged completely by the artist, from the models to the location of the shoot. In the photographs he positions nudes of three different races in the frontier land of the desert, and by placing foreign bodies in the form of naked human figures in the landscape, displays a classic Shinoyama technique – that of highlighting the hidden meaning in a place. His work has a fearsome, non-reflective radicalism that has continued throughout his career and that defines his imagery since the 1960’s.

Kishin Shinoyama’s work is held in private and public collections worldwide.

Ikko Narahara



Ikkō Narahara is a Japanese photographer. Born in Fukuoka, Narahara studied law at Chuo University (graduating in 1954) and, influenced by statues of Buddha at Nara, art history at the graduate school of Waseda University, from which he received an MA in 1959

Takaki Hashimoto


I express the spirit of beauty of Japan via my photograph. I am very interested in my heritage and I am proud of it.I pursued my spirit of beauty, and I arrived at an old Japan spirit of beauty. My photograph contains the mode of expression of a Japanese picture

Uruma Takezawa




In 2010, Japanese photographer Uruma Takezawa embarked on an ambitious journey to explore and document people and places in the world’s more remote corners–where people live off the land and in harmony with nature. Traveling by bus, train, on foot, by horseback and even by kayak, Mr. Takezawa traversed 103 countries on four continents in 1,021 days to fulfill a curiosity about the world’s uncharted corners.

“What inspired me was my interest in unknown worlds,” Mr. Takezawa said in an interview. “I wanted to discover and explore with my camera diverse communities that live in some of the remotest parts of our planet. It was also a personal journey of self-discovery. By traveling alone and meeting different people I also learned about myself. Through my photographs, the unknown world became the known world to me.”

Though his goal was to explore the world, Mr. Takezawa said he did not anticipate more than 1,000 days on the road–initially estimating his journey would last roughly a year. He said that after beginning in the Americas and seeing a year go by, he abandoned his plan to return so soon as he “realized that the world was so much bigger” than he originally fathomed.

“The world that I knew before I started on my journey was a small world that I had seen only through information from the media,” he explained. “The world I experienced during my travels was real. There is pain, joy and loneliness. The world is much wider and deeper than I expected.”

The resulting body of work–simply called ‘Land’–chronicles his global odyssey, from Bolivia to the Middle East, Mali to Brazil, and many other countries along the way. When the going got tough, with just a small backpack and his gear for company, Mr. Takezawa said he relied on his craft to quell his loneliness, forging ahead to make more pictures that could depict how he saw the world–as an immense place.

“This is the most important thing I learned from my journey: Width is the land and depth is the people. The moment when these two intersect, the land and the people become one. It is a moment of spiritual enlightenment. I believe that people in remote areas of the world have a much deeper connection with the land that those of us living in Western society, ” he said.

Mr. Takezawa, who recently won the Nikkei National Geographic Photo Prize, will display the work in his first U.S. exhibition at Foto-Care Gallery in New York as part of the “Shashin: Photography from Japan” festival from April 21-May 5.

As for what’s next, Mr. Takezawa will return home with the lens of his global perspective, examining his native Japan in a new light.

“The long journey was horizontal–it was very broad in scope as it involved many countries and continents. The next journey will be vertical–it will be much narrower in scope but it will be deep. It will reflect what I have learned about the world at large, about myself, and my engagement with my homeland, and with my inner soul.”




Taichi Gondaira


Noriko Yabu



Tomohide Ikeya



 I’m a photographer who has a concept of “Control” for my work.
Water is one of “uncontrolled” things which the human being never can to do.
I had a lot of opportunities to think about ‘water’ with doing scuba diving in several countries as a hobby.
The beauty of sunshine viewed from under water, daily life of aquatics and me as human just be able to see their world for a moment…
We thought human could control water if we had lots of equipments and cared for risks in water, but human never be able to live in water. And we also never be able to live without water.
Water doesn’t only give a life, but also takes a life. On the other hand, water is not the Mother of Creation or the Master of Destruction, it’s just be there as ‘water’.
Water is a philosophical existence very much even be as ’just water’. I had been fascinated with water more and more and I had gotten a zeal for expression it.
It is one of reasons which I became a photographer, so I have been creating my works which has a relation with water.
I’m expressing “enthusiasm for life” by photography throughout the figure of Water and Human.

Miwa Yanag





Tatsuo Suzuki

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Hiroh Kikai


Masao Yamamoto


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Nobuyoshi Araki

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Taka Mayumi

Youichi Shidomoto


Mayumi Yoshimaru




Eikoh Hosoe


Michael Yamashita





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