1930ǯÂåÆüËÜ¡¢¿·¶½¼Ì¿¿¤È¸Æ¤Ð¤ì¤ë¿·¤·¤¤¼Ì¿¿É½¸½¤ÎĬή¤¬À¸¤¸¤Æ¤¤¤¿º¢¡¢1931ǯ¤Î¡ÖÆÈ°ï¹ñºÝ°Üư¼Ì¿¿Å¸¡×¤ä¡Ö¿·¶½¼Ì¿¿¸¦µæ²ñ¡×¤Î·ëÀ®¤Ë¿¨È¯¤µ¤ì¤¿ÌîÅ繯»°(1889-1964)¤¬´©¹Ô¤·¤¿¡Ö½ã¼Ì¿¿·Ý½Ñ¡×¤Î¤¿¤á¤Î¼Ì¿¿»¨»ï¡Ø¸÷²è¡Ù¤ÎÂè2´¬Âè11¹æ¡£1932ǯ5·îÁÏ´©¡£½ÐÈÇ»ñ¶â¤ÎÂçÉôʬ¤ÏÌîÅ礬Ééô¤·¡¢Æ±¿Í¤Ë¤ÏÃæ»³´äÂÀ(1895-1949)¡¢ÌÚ¼°Ëʼ±Ò(1901-1974)¡¢Âè2¹æ¤«¤é¤Ï°ËÆà¿®ÃË(1898-1978)¤¬²Ã¤ï¤Ã¤¿¡£ÁÏ´©¹æ¤«¤éÂè6¹æ¤Þ¤Ç¤Îɽ»æ¥Ç¥¶¥¤¥ó¤Ï¸¶¹°(1903-1986)Ìç²¼¤Î¥°¥é¥Õ¥£¥Ã¥¯¥Ç¥¶¥¤¥Ê¡¼¡¢É¥ÅÄ»°Ïº¤¬¼ê¤¬¤±¤¿¥«¥á¥é¤Î¥ì¥ó¥º¤òÁÛµ¯¤µ¤»¤ëÆó¤Ä¤Î±ß¤Ë¤è¤ë¥°¥é¥Õ¥£¥Ã¥¯¤¬°õ¾ÝŪ¡£´ó¹Æ¼Ì¿¿²È¤â¾åµ¤Ë²Ã¤¨ÀÄÌÚÀ²Íº¡¢°Â°æÃç¼£¡¢²Ö϶ä¸ã¡¢ÈÓÅŬ¼¡Ïº¡¢Ì¾¼èÍÎÇ·½õ¡¢ËÙÌîÀµÍº¡¢¹âÎïÀ¶¼£¡¢¥Ï¥Ê¥ä´ªÊ¼±Ò¤Ê¤É¡¢´ØÅ졦´ØÀ¾¤òÌä¤ï¤º¿ÍÁª¤µ¤ì¡¢¥Õ¥©¥È¥°¥é¥à¡¢¥·¥å¥ë¥ì¥¢¥ê¥¹¥Æ¥£¥Ã¥¯¡¢¥Õ¥©¥È¥â¥ó¥¿¡¼¥¸¥å¤Ê¤É¼Â¸³Åª¤ÊºîÉʤ¬´ó¤»¤é¤ì¤¿¡£1933ǯ¡¢»Äǰ¤Ê¤¬¤éÂè18¹æ¤ò¤â¤Ã¤ÆÇÑ´©¤È¤Ê¤êû̿¤Ë½ª¤ï¤Ã¤Æ¤·¤Þ¤Ã¤¿¤¿¤á¸¸¤Î¼Ì¿¿»¨»ï¤È¤·¤ÆÇ§¼±¤µ¤ì¤Æ¤¤¤ë¤¬¡¢ÆüËܤζáÂå¼Ì¿¿¤ÎȯŸ¤Ë´óÍ¿¤·¤¿¸ùÀÓ¤ÏÈó¾ï¤ËÂ礤¤¡£
In the 1930s in Japan, when a new trend of photographic expression called Shinko Photography was occurring, a Vol. 2, No. 11 of "Koga", a photo magazine for the "pure photographic art", was published by Yasuzo Nojima (1889-1964), who was inspired by the 1931 "Internationale Ausstellung Film und Foto" and the formation of the "New Photography Research Society." First published in May 1932. Most of the publishing funds were borne by Nojima, and fellow members included Iwata Nakayama (1895-1949), Ihei Kimura (1901-1974), and Nobuo Ina (1898-1978) from the second issue. The cover designs from the first issue to the sixth issue have an impressive graphic design with two circles reminiscent of a camera lens, designed by Saburo Hikita, a graphic designer under Hiromu Hara(1903-1986). Contributing photographers were selected from both the Kanto and Kansai regions, including Haruo Aoki, Nakaji Yasui, Gingo Hanawa, Kojiro Iida, Yonosuke Natori, Masao Horino, Seiji Korai, and Kanbei Hanaya, in addition to those mentioned above, and experimental works such as photograms, surrealism, and photomontage were submitted. Unfortunately, it was discontinued after issue 18 in 1933 and was short-lived, so it is recognized as a phantom photography magazine, but its contribution to the development of modern photography in Japan is enormous.
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