アメリカの大手石油会社タイドウォーター社の依頼を受けて、日本の財閥系企業・三菱造船が1957年に建造した大型オイルタンカー「ヴィーダル」の写真集。長崎造船所での制作風景や図面など豊富なヴィジュアルを通じて、日本の技術力を海外に紹介するために制作されたと見られるため、テキストは全文英語で記載されている。特筆すべきは名取洋之助を中心に、木村伊兵衛、原弘、伊奈信男、岡田桑三らが設立した日本工房が編集を担当していること。戦前のグラフ誌『NIPPON』で知られる同工房だが、本書は戦後に名取と内藤初穂を中心に再建された第三次日本工房期に当たる。とはいえダイナミックなタンカーの写真やエディトリアル技術のセンスは平和な時代でも健在だと言える出来栄え。

This is a photo collection of the large oil tanker "Veedol," built in 1957 by Mitsubishi Shipbuilding, a Japanese zaibatsu (financial conglomerate), at the request of the major American oil company Tidewater. It appears to have been produced to showcase Japanese technological prowess to the world through abundant visuals, including scenes of construction at the Nagasaki shipyard and blueprints, and therefore the text is entirely in English. Of particular note is that the book was edited by Nippon Kobo, a group founded by Yonosuke Natori, Ihei Kimura, Hiromu Hara, Nobuo Ina, and Sozo Okada. While Nippon Kobo is known for its pre-war graphic magazine "NIPPON," this book represents the third Nippon Kobo period, rebuilt after the war under the leadership of Natori and Hatsumi Naito. Nevertheless, the dynamic tanker photographs and the sense of editorial skill remain evident even in this peaceful era.

1914年、岩手県の盛岡に生まれた写真家・内村皓一(1914-1993)は、小学生の頃から写真に興味を持ち、当時流行の一円カメラで写真を始める。1940年、関東軍に徴用され、中国・奉天に赴任、約二年にわたって3,000枚の写真を撮影、戦争によって厳しい生活を強いられながらも力強く生き抜く、現地の人々のポートレイトや奉天の美しい風景などを捉えた。終戦後に三十数本のフィルムを忍ばせ帰国したが、残りは自らの手で焼却した。帰国後は花巻市で家業の印刷業を営むかたわら、国際サロン展に出品し、数多くの受賞歴がある。1969年に写真家は引退したが、写真クラブ「皓友会」を結成するなど後進の育成に力を入れた。日本の写真史において、あまり言及されることの少ない写真家ではあるが、彼が師と仰いだ詩人・高村光太郎(1883-1956)は彼のことを「光の詩人」と呼び、その作品を高く評価している。本書は「皓友会」の同志らによって発行された内村の唯一とも言える写真集。戦時下の奉天での写真や、戦後サロンを中心とした写真などを収録している。

Born in Morioka, Iwate Prefecture in 1914, photographer Koichi Uchimura (1914-1993) developed an interest in photography from a young age, starting with a one-yen camera that was popular at the time. In 1940, he was conscripted into the Kwantung Army and stationed in Fengtian, China, where he took 3,000 photographs over approximately two years, capturing portraits of local people who were bravely surviving the harsh life imposed by the war, as well as the beautiful landscapes of Fengtian. After the war, he returned to Japan with over thirty rolls of film, but burned the rest himself. After returning to Japan, he ran his family's printing business in Hanamaki City while also exhibiting at international salon exhibitions and winning numerous awards. He retired as a photographer in 1969, but dedicated himself to nurturing the next generation of photographers, including forming the photography club "Koyukai." Although he is a photographer who is rarely mentioned in the history of Japanese photography, the poet Kotaro Takamura (1883-1956), whom he revered as his mentor, called him the "poet of light" and highly praised his work. This book is arguably Uchimura's only photo collection, published by his comrades in the "Koyukai" group. It includes photographs taken in Mukden during wartime, as well as photographs mainly from salons after the war.

岩波書店刊行の日本の写真家シリーズの第15巻。1928年に浪華写真俱楽部に入会し、その鋭敏な感覚と抜群のテクニックで、一躍新世代の写真家として注目された小石清(1908-1957)と同時代の前衛的なスタイルの写真家の作品を収録。

Koishi Kiyoshi and the Avant-garde Photographers This is the 15th volume in the Japanese Photographers series published by Iwanami Shoten. It features the works of Kiyoshi Koishi (1908-1957), who joined the Naniwa Photography Club in 1928 and quickly gained attention as a new generation photographer for his keen sensibility and outstanding technique, as well as the works of contemporary avant-garde photographers.

岩波書店刊行の日本の写真家シリーズの第11巻。山岳写真、自然写真のパイオニア的存在でもある田淵行男(1905-1989)を特集した一冊。山岳写真家と昆虫生態学者の二つの側面を持つ田淵の業績を収録している。

This is the 11th volume in the Japanese Photographers series published by Iwanami Shoten. It features Yukio Tabuchi (1905-1989), a pioneer in mountain and nature photography. The book compiles the achievements of Tabuchi, who possessed two facets: that of a mountain photographer and an insect ecologist.

岩波書店刊行の日本の写真家シリーズの第5巻。大正時代に芸術写真の黄金時代を代表する写真家の一人でもあった高山正隆(1895-1981)と、同時代のピクトリアリズム作家(山本牧彦、渡辺淳、塩谷定好、日高長太郎、福森白洋、梅阪鶯里、石田喜一郎)を特集した一冊。彼らは引き伸しの際に印画紙を歪めてプリントする「デフォルマシオン」、ネガの一部を極端にトリミングする「部分伸ばし」、銀塩を顔料に置きかえる「ピグメント印画法」など個性的な芸術写真を制作していた。

Takayama Masataka and the Pictorialists of the Taisho Era Volume 5 of the Japanese Photographers series published by Iwanami Shoten. A book featuring Masataka Takayama (1895-1981), one of the leading photographers of the golden age of art photography during the Taisho era, and Pictorialist artists of the same era (Makihiko Yamamoto, Jun Watanabe, Teiko Shiotani, Chotaro Hidaka, Hakuyo Fukumori, Ori Umesaka, Kiichiro Ishida). They produced unique artistic photographs such as ``deformation,'' which involves distorting photographic paper during enlarging, ``partial stretching,'' which involves extremely trimming a portion of the negative, and ``pigment printing,'' which involves replacing silver halide with pigment.

岩波書店刊行の日本の写真家シリーズの第6巻。大正期に写真画集『白陽』を主宰し、抽象的なフォルムの静物写真や風景写真をめざす作風を展開した淵上白陽(1889-1960)と、彼を中心として1932年に結成された満州写真作家協会に所属する写真家たちの作品をまとめた一冊。ちなみに同協会作家には、馬場八潮、岡田中治、米城善右衛門、一色辰夫、宇野木敏らが所属していた。

Fuchikami Hakuyo and the Photographers in Manchuria This is the sixth volume in the Japanese Photographers Series published by Iwanami Shoten. It compiles the works of Hakuyo Fuchigami (1889-1960), who presided over the photo collection "Hakuyo" during the Taisho period and developed a style aiming for abstract forms in still life and landscape photography, as well as the works of photographers belonging to the Manchurian Photographers Association, which was formed in 1932 with Fuchigami at its core. Incidentally, members of the association included Yashio Baba, Chuji Okada, Zen'emon Yoneki, Tatsuo Isshiki, and Satoshi Unoki.

岩波書店刊行の日本の写真家シリーズの第12巻。日本のフォトジャーナリストの草分けの一人である堀野正雄(1907-1998)の写真集。舞台写真家として活動しながら「国際光画協会」「新興写真研究会」といったグループに加わり、実験写真を制作した。1932年に刊行された『カメラ・眼×鉄・構成』は、鉄橋やガスタンクなど機械的構成物のダイナミックな構成美を定着したもので昭和初期の「新興写真」における代表的な写真集に位置付けられている。

This is the 12th volume in the Japanese Photographers series published by Iwanami Shoten. It is a photobook of Masao Horino (1907-1998), one of the pioneers of Japanese photojournalism. While working as a stage photographer, he joined groups such as the "IKOKUSAI KOGA KYOKAI" and the "SHINKO SHASHIN KENKYUKAI" and produced experimental photographs. His 1932 work, "Camera, Eye x Iron, Composition," captured the dynamic compositional beauty of mechanical structures such as iron bridges and gas tanks, and is considered a representative photobook of "New Photography" in the early Showa period.

岩波書店刊行の日本の写真家シリーズの第37巻。"ブレ・ボケ"と称された、荒々しい映像で1960年代後半より写真同人誌『プロヴォーク』を始め、問題作を次々に刊行した森山大道の写真集。1965年から1994年までの写真の中から厳選して収録。

Volume 37 of the Japanese Photographers Series published by Iwanami Shoten. This is a photobook of Daido Moriyama, who, starting in the late 1960s, published a series of controversial works, including the photography coterie magazine "Provoke," with his rough images that were described as "blurry and out of focus." The book contains a selection of photographs taken between 1965 and 1994.

日本の写真黎明期を語る上で外すことはできない写真師、写真出版者、小川一真(1860-1929)の写真帖。明治時代の日本の風景を、オプティミスティック(楽観的な赤糸)とペシミスティック(悲観的な紫糸)の二つのバージョンによって綴じまとめている。印刷は小川の専売特許でもあるコロタイプによる精細な写真。裏表紙に配された楽観と悲観の顔が遊び心があって面白い。

This photo album by Kazuma(Kazumasa/Isshin) Ogawa (1860-1929), a photographer and publisher indispensable to any discussion of the early days of photography in Japan, compiles landscapes of Meiji-era Japan in two versions: an optimistic version (with red thread) and a pessimistic version (with purple thread). The prints are finely detailed, using Ogawa's signature collotype printing technique. The optimistic and pessimistic faces on the back cover are playful and amusing.

1982年、毎日新聞創刊110年を記念して毎日新聞社が毎日ファッション大賞を新設。本書はそのタイミングで開催された三宅一生(1938-2022)と高田賢三(1939-2020)両氏の合同ファッションショーの模様を伝えるカタログ。東京会場は品川プリンスホテルホールドホール、大阪会場は大阪府立体育会館で開催された。巻頭には二人の対談を収録。

In 1982, the Mainichi Newspapers established the Mainichi Fashion Awards to commemorate the 110th anniversary of the publication of the Mainichi Shimbun. This book is a catalog that tells the story of the joint fashion show of Issey Miyake (1938-2022) and Kenzo Takada (1939-2020) that was held at that time. The Tokyo venue was Shinagawa Prince Hotel Hold Hall, and the Osaka venue was Osaka Prefectural Gymnasium. A conversation between the two is included at the beginning of the book.

1974年から76年にかけて東京で開校された「WORKSHOP写真学校」の機関誌第6号。「写真売ります」を特集として、当時の講師陣ほか写真家12人の自選作品を一点三万円で販売すると表記されている。内容もオリジナルプリントについての考察やカラー写真の保存性について、またマイナー・ホワイト(Minor White)も本書のために寄稿している。この企画はその後、写真界隈では賛否両論の物議を醸した。

This is the sixth issue of the journal published by the "WORKSHOP Photography School," which was held in Tokyo from 1974 to 1976. The issue features a special section titled "Photographs for Sale," announcing that 12 photographers, including the instructors at the time, were selling their selected works for 30,000 yen each. The content includes discussions on original prints and the preservation of color photographs, and Minor White also contributed an article to this publication. This project subsequently sparked controversy and mixed reactions within the photography world.

2004年に東京都現代美術館で開催された日本のアニメーションに関する展覧会、そのカタログ。日本のアニメの原点といえる漫画映画の草創期から現代に至るまでの歴史を紹介する内容。手探りで技術を蓄積していった戦前の白黒短編の時代、戦後にカラー長編作品を成功させた東映動画、そして宮崎駿、高畑勲に代表されるスタジオジブリまで、大きく三世代に分け、貴重な資料と映像で振り返る。関係者らによるインタビュー、スケッチや絵コンテ、写真など、資料性が非常に高い。

This is the catalog for an exhibition on Japanese animation held at the Museum of Contemporary Art Tokyo in 2004. It introduces the history of Japanese animation from the early days of cartoon films, which can be considered the origin of Japanese animation, to the present day. Dividing the history into three main generations, it looks back with valuable documents and footage, from the pre-war era of black and white short films where techniques were accumulated through trial and error, to Toei Animation, which achieved success with color feature films after the war, and to Studio Ghibli, represented by Hayao Miyazaki and Isao Takahata. It includes interviews with people involved, sketches, storyboards, and photographs, making it a highly valuable resource.

戦前の日本におけるモダニズム運動の主要人物、板垣鷹穂(1894-1966)の機械文明と芸術の関係を理論的に考察した評論集。本書では1929年の春から秋にかけての半年の間に受けた原稿依頼の中から、本書主題に合わせて収録している。表紙から本文のデザインに至るまで、バウハウスや構成主義の雰囲気が感じられる。ちなみに本書は堀野正雄(1907-1998)の『カメラ・眼 × 鉄・構成』に大きな影響を与えた。残念ながら付属の函と表紙の写真は欠けてはいるが、見返しに貼られた前所蔵者による機関車の写真は本書の雰囲気に調和している。本文はムレ、若干の傷みがあるため読めれば良いという方には最適です。

This is a collection of essays by Takao Itagaki (Takaho Itagaki 1894-1966), a leading figure in the pre-war Japanese modernist movement, that theoretically examines the relationship between mechanical civilization and art. This book compiles essays selected from those commissioned during a six-month period from spring to autumn of 1929, tailored to the book's theme. From the cover design to the interior layout, one can sense the atmosphere of Bauhaus and Constructivism. Incidentally, this book greatly influenced Masao Horino's (1907-1998) "Camera: Eye × Iron: Composition." Unfortunately, the accompanying slipcase and cover photograph are missing, but the locomotive photograph pasted on the endpaper by the previous owner harmonizes with the book's overall feel. The text shows some dampness and slight damage, making it ideal for those who simply want to read it.

1981年、金子隆一、島尾伸三、築地仁をメンバーとする「カメラワークス」が筑波大学で行った展覧会「CAMERA WORKS EXHIBITION」をサポートした当時の教授大辻清司(1923-2001)、技官の斉藤さだむらが、彼らに持続した写真展を打診したことから実現したのが写真展「15 Contemporary Photographic Expressions」である。当初は会場の都合で参加人数を15人に限定し、筑波大学関係者で8人、残りの7人を「カメラワークス」のメンバーそれぞれの関係からのノミネートすることとなり運営された。1982年の第1回展では、斉藤のほか畠山直哉、鈴木秀ヲ、潮田登久子、島尾伸三、築地仁らが参加した。その後も毎年1回ずつメンバーを変えながら会場も筑波大学、多摩美術大学、大阪芸術大学でも開催され、1988年11月までに14回の回を重ねたが、最後にこれまでの参加者のみをノミネート対象とする企画展「15×15」を行い、終止符をつけることとなった。本書では全14号の内、第7号が欠。

In 1981, Professor Kiyoji Otsuji (1923-2001) and technical staff member Sadamu Saito, who supported the "CAMERA WORKS EXHIBITION" held at Tsukuba University by "CAMERA WORKS," a group whose members were Ryuichi Kaneko, Shinzo Shimao, and Hitoshi Tsukiji, approached them about holding a sustained photo exhibition, which led to the creation of the "15 Contemporary Photographic Expressions" exhibition. Initially, due to venue limitations, the number of participants was limited to 15, with 8 from Tsukuba University and the remaining 7 nominated from among the "CAMERA WORKS" members' connections. The first exhibition in 1982 included Saito, as well as Naoya Hatakeyama, Hideo Suzuki, Tokuko Ushioda, Shinzo Shimao, and Hitoshi Tsukiji. The event continued, with a different group of participants each year, and was held at venues such as Tsukuba University, Tama Art University, and Osaka University of Arts. By November 1988, it had been held 14 times, but finally came to an end with a special exhibition, "15x15," in which only past participants were nominated. Of the 14 issues, issue 7 is missing from this book.