woensdag 21 februari 2018

Photographer Study All Zones off Peak Tom Wood Parr Badger II Street Photography


Tom Wood
All Zones Off Peak
Photographs: TOM WOOD
Publisher: Dewi Lewis Publishing
96 pages
Year: 1998
Comments: Hardcover with dust jacket, 248 mm x 298 mm.Ref Parr & Badger p308 the photobook Vol 2.

Fantastic concentration... an epic of the everyday – Mark Haworth Booth

I can not think of a more engaging body of contemporary work – Chris Killip

As good a set of photographs as one sees every five or ten years – if you're lucky – Lee Friedlander

Long out of print All Zones Off Peak is an extraordinary book. Wood spent over fifteen years and shot over 3,000 rolls of film photographing Liverpool and its people from a bus. Visually stunning and dramatically revealing it is a body of work of immense power.


Photographer Study – Tom Wood, All Zones off Peak

All images used in this post are copyrighted to the individual photographer stated and are only being used for educational purposes.

All Zones off Peak (Wood, T. (1998). All Zones off Peak. 1st Edition. England. Dewi Lewis Publishing.)  is a body of work by Photographer Tom Wood  and was recommended by my Tutor quite a while ago. After much searching and waiting, I finally managed to reserve a copy to view at the Bodleian Library in Oxford.

The book is a result of a 15 year bus journey across Liverpool, where Wood photographs the world beyond the window as well as fellow travellers on the bus and waiting outside.

The first half of the  book is all in black and white, mostly taken in the reign of  Thatcher’s Government. The subjects appear to mirror the timeless effect of black and white in their everyday grey gestures and postures. Each picture is carefully thought out and composed. Some focus on the passing landscape outside and people going about their everyday life oblivious to the camera. In others he has concentrated on fellow passengers and in some cases has used a combination of the two. One image in particular titled Kensington 1988 was taken on the top deck of a bus. Wood has focused on a shop out of the window but in the top left corner of the frame are the hands of a male passenger reading a book and holding a cigarette. The bus is obviously stationery and he has also captured the bus stop sign with another sign directly above of an arrow pointing “To the Circus”. It is the tiny details like this that make his images so interesting and with each view another detail is revealed to the viewer in the never-ending layers of the story in his pictures.

In each picture it is quite clear that the  photographer is a passenger on the bus. Wood captures reflections in the glass, mirrors and parts of the window frame within the photo frame. His ability to capture the sometimes grey expressions of his subjects somehow suggests that the toil of their bus journey mirrors their everyday struggles in their life journey.

1983 (Netherton). Copyright Tom Wood

The second half of the book is in colour and appear more abstract with the use of reflections within reflections but equally still drawing the viewer in and creating a fascinating story.

In the accompanying text Mark Holborn quoted:

“The journey is the oldest narrative device”

It therefore seems quite appropriate that the last picture in the book is one of the photographer standing on the street and photographing the passengers on the bus. It appears that he has alighted at this final destination and is waiting for the bus to move off. Ironically many of the passengers appear to be looking at / watching him as opposed to the other way round.

London Road, City Centre, 1994. Copyright Tom Wood

Bibliography

Wood, T. (1998). All Zones off Peak. 1st Edition. England. Dewi Lewis Publishing.


SATURDAY, 12 JUNE 2010
All Zones Off Peak
This image is taken from Tom Wood’s All Zones Off Peak, a series of photographs taken from bus windows in Liverpool between 1979 and 1997 - years that exactly coincide with an unbroken period of Conservative government. At first glance they read like studies of the disenfranchised of the Northern inner cities. Wood’s bus journeys visually connect the regenerated areas of the city with more neglected, peripheral spaces: the declining high streets, areas of wasteland, cleared slums and abandoned houses of the inner-ring suburbs. But what is really interesting about Wood’s project is the slow-burning, cumulative effect of the series as a whole, a small selection taken from over 3000 rolls of film and 100,000 photographs. These photographs are not about capturing specific moments but the endlessly repeated routines and minimal, wordless communities produced by bus journeys.

Wood used a Leica camera with a quiet shutter and shot from the chest or stomach, allowing him to take photographs unobtrusively, in the manner of Walker Evans’s secretly-taken New York subway portraits. Rather than catching his subjects unawares, though, Wood reveals them in that semi-introspective, blank-faced mode we adopt in routine public spaces. All these unnamed people, absent-mindedly following their fixed timetables and prescribed routes – all inhabiting what Georges Perec called “the infra-ordinary,” the sphere of existence that lies beneath notice or comment, and within which “we sleep through our lives in a dreamless sleep”.

Mundane quote for the day: ‘Objects and words also have hollow places in which a past sleeps, as in the everyday acts of walking, eating, going to bed, in which ancient revolutions slumber.’ - Michel de Certeau

Tom Wood: All Zones Off Peak
July 1999

Stanley Road, Bootle, 1989

Tom Wood was born in Mayo in 1951, grew up in Cowley in Oxford, and then studied painting at Leicester Polytechnic. He moved to Mereyside in 1978 and has taught photography part-time there and as a visiting lecturer while pursuing long-term photographic objects. He has written many books and his work is represented in major public collections including MOMA New York ; International Centre for Photography, New York; and the Victoria & Albert Museum, London.

Tom Wood’s All Zones Off Peak is the culmination of a fifteen year photographic odyssey around Liverpool. From the simple starting point of photographing from a bus, he has created a Joycean vision of the city – a complex, lived-in, living reality.

Jim Vausham

Tom Wood shot more than three thousand rolls of film in realizing this ambitious and compelling project. From the earliest silver prints, to the recently completed large-scale color images, it is a remarkable achievement that explores new ground in photography. With a beauty that catches you unawares, the work delivers an extraordinary  picture of the ordinary.

Tom Wood’s art lies in his commitment to the multi-layered lives of people he depicts. Never sneering at them, or appropriating them for some political cause, Wood’s work nevertheless holds a political message. The social realities he portrays are underpinned by the thoughts and dreams of his protagonists; at every instant, the ‘real world’ is open to transformation.

Wood’s only loyalty is to the living city he photographs, the way its people populate and inhabit it, and most of all the ways in which, in every way and everyday ,we move in constant relation to others, known and unknown, living and dead, who also walked these streets and breathed this air.














maandag 19 februari 2018

Views & Reviews Japan Through a Leica Ihee Kimura Photography


Wednesday, November 6, 2013
Tokyo-X-Vario: View Japan Through a Leica

Image taken with Ricoh GR-D IV. 1/42 sec F/1.9 @ ISO 400

It's always been a romantic concept of mine to wander the streets of Tokyo with a Leica. I know I'm not alone as there are a few 'foreigners' in Tokyo who have become quite well known in the photography blogosphere as Leica photographers. I've been back to Japan many times, and I've taken a variety of cameras over the years: Argus, Minolta, Fujifilm, Ricoh, Pentax, Canon, Panasonic; but never with a Leica.

But why a Leica? I don't know why really. Is it perhaps because both the Leica brand and the Japanese culture seem to both be entrenched in tradition, but at the same time adapt to the present without forgetting their past? Is it the red dot? Is it because of that movie with Clint Eastwood? Who knows...


Either way, this dream of mine was solidified years ago when I found a rare 1939 book entitiled "Japan Through a Leica" by Ihee Kimura. He bridged his specific tool (the Leica) with a specific project (life in 'modern' Japan of the 1930's), and went one step further by giving stats on every image shot, including developing times and specs!! He was the original camera-photo-nerd hipster!! Anyways, this was too much for me to handle.

So I've decided to do my own 'Leica in Japan' project called Tokyo-X-Vario. Yes it sort of rhymes, but more than that, it well describes what I'll be doing for a month: wandering the streets of Tokyo with a Leica X-Vario camera. I'll be posting pics on Instagram, Twitter and this blog throughout the month, and I'll finish off with a review of the camera itself once I get back to Canada.


Moreover, I'm really looking forward to starting this new project. I hope to take some great pictures with the X-Vario, but equally I want to meet new people, especially Leica-fans! Mijonju? Japan Camera Hunter? Shoot Tokyo? Here comes Bigheadtaco with a digital Leica!! I'll be in Tokyo and ready to shoot this coming Saturday, so look for my first post a couple of days after that. In between I'll be regularly posting to my Instram and tweeting.

I thank Eric Kerwin of Leica Canada for making this project possible by loaning me the X-Vario for a month. My previous review highlights the fact that the X-Vario is a great street camera, but I'll have time to use it for other things as well. Let's see what this Leica can do in the land of the rising sun!! Happy shooting!!

'Kafu Nagai' (1954) by Ihee Kimura. | TOKYO METROPOLITAN MUSEUM OF PHOTOGRAPHY
ART
East, West split by the lens
BY MARIUS GOMBRICH
JAN 15, 2010

When the Leica was introduced in 1925, a new era in photography began. The compact camera, by being much lighter and more versatile than previous models, gave photographers unprecedented freedom in choosing the subject, angle and moment for their snaps.

The minimization of physical constraints embodied in the Leica also meant that photography became much more a question of the character of the person wielding the camera. This is the premise of the exhibition “Ihee Kimura & Henri Cartier-Bresson: Eastern Eye & Western Eye” at the Tokyo Metropolitan Museum of Photography, which, by choosing one photographer each from the East and the West, also suggests that photography styles may express different cultural views.

This aside, with around 150 photos, the first impression the exhibition gives is of the overwhelming genius of Henri Cartier-Bresson, the French photographer who helped found the Magnum cooperative photo agency and is widely regarded as the father of modern photojournalism.

Cartier-Bresson’s ability to pick fascinating compositions out of the fast-moving flow of everyday reality is astounding. A photo simply titled “Alicante, Spain” (1933) shows three unglamorous women apparently engaged in some kind of roadside beauty treatment, although exactly what they are doing is hard to fathom, except to say that one of them is holding a butter knife. The way the arms of the three figures interlock gives the picture a sense of elegance, unity, and balance reminiscent of Antonio Canova’s neoclassical statue “The Three Graces” — and all this in the blink of an eye!

“Photography is not like painting,” Cartier-Bresson explained to the Washington Post in 1957. “There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever.”


“L’Aquila Abruzzo, Italy” (1951) shows the cobbled streets of an Italian town shot from an elevated position. Here, the exact moment of the shutter is less important but Cartier-Bresson’s sense of composition is unmistakable. The railings, curbs and steps divide the picture into balanced segments, across which the various figures — children, women with trays of bread, a cluster of men in the distance, etc. — are distributed in an aesthetically pleasing manner. It is almost as if the scene had been put together with the same degree of contrivance that a painter employs.

Set against mesmerizing works like these, the photography of Ihee Kimura may at first sight seem decidedly second string. In “Subway Entrance, Paris” (1955), he even resorts to the old photographer’s trick of catching people off their guard as they descend stairs. But, on the other hand, the compositional strength of Cartier-Bresson could sometimes be seen as a weakness, appearing, at times, too precise and affected. The dominance of the geometric element in “L’Aquila Abruzzo, Italy,” for example, strikes a slightly chilling note in what is otherwise a warm, relaxed scene.

According to Akiko Kushiro, one of the curators of the museum, this picture demonstrates the difference between the Western eye and the Eastern one. The Western tendency to aspire to aesthetic unity, so evident in “L’Aquila Abruzzo, Italy,” is largely absent in Kimura’s work.

“I think that the difference is that Kimura saw people more,” Kushiro explains, pointing out a 1954 photo of a well-dressed couple in Rome. In what is perhaps the most photogenic city in the world, the background is surprisingly under-utilized.

“I think that maybe he sometimes didn’t even notice the background,” Kushiro comments.

Kimura comes across as a shyer photographer than the brazen Cartier-Bresson; one who is less likely to confront and regiment his subjects. But, at the same time, he seems more genuinely sympathetic. His pictures of Japanese village life in the 1950s have an especial warmth.

This stands in marked contrast to the biting wit and flashes of cynicism in Cartier-Bresson’s work. “Hyde Park, London” (1937) shows an old lady stretched out on a park bench. Her walking stick leaning diagonally against the bench serves to comically echo and emphasize the old woman’s stiff posture. While this makes the photo interesting in the same way as a good caricature, it also drains it of empathy.

In terms of chutzpah and aesthetic sense, Kimura can’t measure up, but his work scores better on the emotional scale. His photo of the playwright, essayist, and diarist Kafu Nagai from 1954 is a good example.

Nagai was a writer who found his inspiration in chance encounters and wrote about the denizens of the city’s lively entertainment districts. Kimura’s photograph of him lacks compositional brilliance and the nattily-dressed writer is not wittingly caricatured. But, perhaps because of this, Kimura manages to capture a true sense of the observant writer, who seems to be afloat in the crowd but also keenly aware of his surroundings — ironically, much more so than the photographer taking his picture!

“Ihee Kimura and Henri Cartier-Bresson: Eastern Eye, Western Eye” runs till Feb. 7 at the Tokyo Metropolitan Museum of Art; open 10 a.m.-6 p.m. (till 8 p.m. on Thur. and Fri., closed Mon.); admission ¥700. For more information, visit www.syabi.com


Ihei Kimura[1] (木村 伊兵衛 Kimura Ihei, 12 December 1901 – 31 May 1974) was one of the most celebrated Japanese photographers of the twentieth century, particularly known for his portrayal of Tokyo and Akita Prefecture.

Born on 12 December 1901 in Shitaya-ku (now Taitō-ku), Tokyo, Kimura started taking photographs when very young but his interest intensified when he was around 20 and living in Tainan, Taiwan, where he was working for a sugar wholesaler. He opened a photographic studio in Nippori, Tokyo in 1924. In 1930, he joined the advertising section of the soap and cosmetics company Kaō, concentrating on informal photographs made with his Leica camera. In 1933, he joined Yōnosuke Natori and others in forming the group Nippon Kōbō ("Japan workshop"), which emphasized "realism" in photography using 35mm cameras; but this rapidly broke up and Kimura formed an alternative group, Chūō Kōbō ("central workshop") with Nobuo Ina and others.

During the war, Kimura worked in Manchuria and for the publisher Tōhō-sha.

In 1950, Kimura was elected chairman of the newly formed Japan Professional Photographers Society (JPS); together with Ken Domon he did much to encourage a documentary spirit in amateur photography.

In the mid-fifties, Kimura made several trips to Europe, providing photographs for the camera magazines. His work was included by Edward Steichen in the world-touring 1955 MoMA exhibition The Family of Man. Pari,[2] a collection of his color photographs of Paris, would only be published in 1974, but the use of color was ahead of its time.[3]

On his return to Japan, Kimura concentrated on photographing rural life in Akita. He also worked on portraits, particularly of writers.

Kimura died at his home in Nippori on 31 May 1974; the Kimura Ihei Award for new photographers was promptly set up in his honor. He remains popular in Japan: samples of his photographs still (2009) regularly appear in the magazine Asahi Camera.

His work was exhibited at the Rencontres d'Arles festival in 2004.

Notes
Or Ihee Kimura. In roman script, his name more often appears as Ihei Kimura (or Kimura Ihei) than as Ihee Kimura (or Kimura Ihee).
I.e. "Paris"; full title Kimura Ihee shashinshū: Pari.
Parr and Badger, p. 297.
Bibliography
Books of Kimura's photographs
A Historical Sketch of Japanese Customs and Costumes. Tokyo: Society for International Cultural Relations (Kokusai Bunka Shinkōkai), 1936.
Japanese School Life through the Camera. Tokyo: Society for International Cultural Relations (Kokusai Bunka Shinkōkai), 1937.
(As "Ihee Kimura".) Japan through a Leica. Tokyo: Sanseido, 1938. One hundred photographs of Japan. Facsimile edition: Tokyo: Kokushokan, 2006. ISBN 4-336-04488-0. (NB The box that contains this expensive reprint is considerably larger than the book within it.)
Four Japanese Painters. JPS Picture Books. JPS, 1940. In English.
(in Japanese) Kōki nisenroppyaku-nen gōshuku geinōsai (皇紀二千六百年奉祝藝能際). Kokusai Hōdō Kōgei, 1941.
(in Japanese) Ōdō rakudo (王道樂土). Tokyo: Ars, 1943. Photographs of Manchuria.
Rokudaime Onoe Kikugorō butai shashinshū (六代目尾上菊五郎舞臺寫眞集, Photograph collection of the sixth Onoe Kikugorō on the stage). Kyoto: Wakei Shoten, 1949. On the kabuki actor Onoe Kikugorō VI (1885–1949).
(in Japanese) Kimura Ihee kessaku shashinshū (木村伊兵衛傑作写真集) / Select Pictures by Ihei Kimura. Tokyo: Asahi Shinbunsha, 1954. A book of generous format (30×21 cm) that presents 132 photographs, most taking the entire page but a few in half-, quarter- or double-page format. They represent all facets of Kimura's work. The reproduction quality is of course no match for that in the posthumous collections, and what is interesting about this book is the material that the latter drop, for example three photographs from a (demure) striptease performance. Short captions in English as well as Japanese, longer explanations as well as texts by Kimura and Nobuo Ina in Japanese only.
(in Japanese) Kimura Ihee gaiyū shashinshū: Dai ikkai (木村伊兵衛外遊写真集:第一回). Tokyo: Asahi Shinbunsha, 1955.
(in Japanese) Kimura Ihee gaiyū shashinshū: Dai nikai: Yōroppa no inshō (木村伊兵衛外遊写真集:第二回:ヨーロッパの印象) / Impression of Europe. Tokyo: Asahi Shinbunsha, 1956.
Zōsenjo no inshō (造船所の印象) / At a Shipyard. Sekai Shashin Sakka (世界写真作家). Tokyo: Heibonsha, 1958.
Kimura Ihee sakuhinshū (木村伊兵衛作品集), Collected photographs of Ihei Kimura). Gendai Nihon shashin zenshū (現代日本写真全集), vol. 1. Tokyo: Sōgensha, 1959.
Ōkawa Hashizō butai shashinshū (大川橋蔵舞台写真集, Photograph collection of Hashizō Ōkawa on the stage). Wakei Shoten, 1962. On the kabuki actor Hashizō Ōkawa (1929–84).
(in Japanese) Zenshinza butai shashinshū (前進座舞台写真集, Photograph collection of Zenshinza on stage). Tokyo: Kenkōsha, 1966. Black and white and also some color photographs of the Zenshinza kabuki troupe on stage and off, on the occasion of the 35th anniversary of its founding.
(in Japanese) Kimura Ihee no me (木村伊兵衛の眼, The eye of Ihei Kimura). Special issue of Asahi Camera, December 1970. A representative collection of Kimura's works, all black and white.
(in Japanese) Kimura Ihee shashinshū: Chūgoku no tabi (木村伊兵衛写真集:中国の旅, Ihei Kimura photograph collection: Travels in China). Tokyo: Asahi Shinbunsha, 1974.
Kimura Ihee shashinshū: Pari (木村伊兵衛写真集:パリ, Ihei Kimura photograph collection: Paris). Tokyo: Norasha, 1974. Most of the photographs are spread across facing pages (and thus split down the middle).
(in Japanese) Akita (秋田). Nikon Salon Books 4. Tokyo: Nikkor Club, 1978. Photographs of Akita.
Rokudaime Kikugorō: Kimura Ihee shashinshū (六代目菊五郎:木村伊兵衛写真集) / Sixth Generation Kikugoro. Sonorama Shashin Sensho 17. Tokyo: Asahi Sonorama, 1979. OCLC 835651026. On the kabuki actor Onoe Kikugorō VI (1885–1949). Substantially based on the book of 1949, but an altered selection of photographs. With a short summary in English.
(in Japanese) Watanabe Yoshio (渡辺義雄), et al., eds. Kimura Ihee shashin zenshū: Shōwa jidai (木村伊兵衛写真全集:昭和時代, Ihei Kimura photograph collection: The Shōwa period). Tokyo: Sekaibunkasha, 1979. Three large (37 cm tall), expensive hardback volumes.
1. Portraits and the stage.
2. Street scenes and the countryside.
3. Europe and China.
(in Japanese) Machikado (街角, Street corners). Nikon Salon Books 7. Tokyo: Nikkor Club, 1981. Black and white photographs, mostly of Japan, but also of Europe and China, selected by a team headed by Jun Miki. There are scenes in the countryside (even fields), by the sea, and so forth. When new, this book was available to the members of the Nikkor Club; it was not sold to the public.
(in Japanese) Watanabe Yoshio (渡辺義雄), et al., eds. Kimura Ihee shashin zenshū: Shōwa jidai (木村伊兵衛写真全集:昭和時代, Ihei Kimura photograph collection: The Shōwa period). Tokyo: Chikuma, 1984. Four large (31 cm tall), hardback volumes, still (2006) in print.
1. Photographs from 1925 to 1945. ISBN 4-480-61301-3.
2. Photographs from 1945 to 1953. ISBN 4-480-61302-1.
3. Photographs from 1953 to 1974. ISBN 4-480-61303-X.
4. Photographs of Akita Prefecture. ISBN 4-480-61304-8.
(in Japanese) Tanuma Takeyoshi (田沼武能), ed. Kimura Ihee no Shōwa (木村伊兵衛の昭和, The Shōwa period of Ihei Kimura). Chikuma Library 39. Tokyo: Chikuma, 1990. ISBN 4-480-05139-2. An inexpensive compact (shinsho) survey still (2006) in print.
Tanuma Takeyoshi (田沼武能), ed. Kimura Ihee: Shōwa no onna-tachi (木村伊兵衛 昭和の女たち, Ihei Kimura: The women of Shōwa). Chikuma Library 55. Tokyo: Chikuma, 1991. ISBN 4-480-05155-4.
Kimura Ihee no sekai (木村伊兵衛の世界) / Photographs: Kimura Ihee. Tokyo: Tōkyōto Bunka Shinkōkai, 1992. Catalogue of an exhibition.
Kimura Ihee sakuhinten: Tokyo, 1945–1968 (木村伊兵衛作品展:「東京」1945~1968年, Ihei Kimura exhibition: Tokyo, 1945–68). Tokyo: JCII Photo Salon, 1992.
(in Japanese) Rokudaime Onoe Kikugorō: Zenseiki no meijingei (六代目尾上菊五郎:全盛期の名人芸, Sixth generation Onoe Kikugorō). Tokyo: Nihon Eizō (distributed by Bungei Shunjū), 1993. ISBN 4-89036-847-7. On the kabuki actor Onoe Kikugorō VI (1885–1949).
Kimura Ihee to Akita ten (木村伊兵衛と秋田展, Exhibition of Ihei Kimura and Akita). Akita: Akita Senshu Museum of Art, 1994.
(in Japanese) Tanuma Takeyoshi (田沼武能), ed. Kimura Ihee: Shōwa o utsusu (木村伊兵衛 昭和を写す, Ihei Kimura: Photographing the Shōwa period). Tokyo: Chikuma (Chikuma Bunko), 1995. An inexpensive four-volume pocket-format (bunkobon) survey still (2006) in print, based on the same publisher's four-volume set of 1984.
1. Senzen to sengo (戦前と戦後, Before and after the war). ISBN 4-480-03051-4. Okinawa, 1935; Manchuria, 1940; life in Tokyo and elsewhere in Honshū, mostly 1932–41; the aftermath of the war, 1945–7; Japan, 1949–72.
2. Yomigaeru toshi (よみがえる都市, The city restored). ISBN 4-480-03052-2. Tokyo 1946–73.
3. Jinbutsu to butai (人物と舞台, People and the stage). ISBN 4-480-03053-0. Portraits, people at work, the traditional Japanese stage.
4. Akita no minzoku (秋田の民俗, Folkways of Akita). ISBN 4-480-03054-9. Life in Akita Prefecture.
(in Japanese) Kimura Ihee (木村伊兵衛, Ihei Kimura). Nihon no Shashinka 8. Tokyo: Iwanami Shoten, 1998. ISBN 4-00-008348-1. A concise survey within this set devoted to the Japanese pantheon.
(in Japanese) Teihon: Kimura Ihee (定本木村伊兵衛, Ihei Kimura: The definitive edition). Tokyo: Asahi Shinbunsha, 2002. ISBN 4-02-258676-1. A large (29 cm tall), carefully produced and rather expensive collection, which has captions in English as well as Japanese, but no other English.
Boku to Raika: Kimura Ihee kessakusen + essei (僕とライカ:木村伊兵衛傑作選+エッセイ, Leica and me: A collection of masterpieces by Ihei Kimura, and essays). Tokyo: Asahi Shinbunsha, 2003. ISBN 4-02-257832-7.
Kimura Ihee (木村伊兵衛) / Ihei Kimura. Kyoto: Katsuhikan and the Kyoto Museum of Contemporary Art, 2002. A compact survey of Kimura's work in Japan. Elegantly produced, but the reproduction quality is disappointing. Short captions as well as some other text in English, remaining text in Japanese only.
Kimura Ihee-ten (木村伊兵衛展) / Ihei Kimura: The Man with the Camera. Tokyo: National Museum of Modern Art, 2004. The compact survey in this well-produced exhibition catalog includes such lesser known works as the Kaō advertisements. Captions and much of the text in English as well as Japanese.
Tanuma Takeyoshi (田沼武能), et al. Kimura Ihee no Pari (木村伊兵衛のパリ) / Kimura Ihei in Paris: Photographs 1954–1955. Tokyo: Asahi Shinbun-sha, 2006. ISBN 4-02-250209-6. A large collection of color photographs, many of which previously appeared in Kimura Ihee shashinshū: Pari (1974). In Japanese and English.
Other books with works by Kimura
Kogata kamera shashinjutsu (小型カメラ写真術). Seibundō Shinkōsha, 1936. Reprint. Kurashikku Kamera Sensho 25. Tokyo: Asahi Sonorama, 2002. ISBN 4-257-12035-5.
Kogata kamera no utsushikata, tsukaikata (小型カメラの寫し方・使ひ方 [in modern script (小型カメラの写しかた・使いかた]). Tokyo: Genkōsha, 1937.
(Joint work) Girls of Japan. JPS Picture Books. JPS, 1939. In English.
(Joint work) (in Indonesian) Pendidikan di sekolah kebangsaan. Kokusai Bunka Shinkōkai, 1942.
(Joint work) (in Indonesian) Peroesahaan mesin basar. Kokusai Bunka Shinkōkai, 1942.
(with Shunkichi Kikuchi) Tōkyō sen-kyūhyaku-yonjūgonen, aki (東京一九四五年・秋) / Tokyo: Fall of 1945. Tokyo: Bunka-sha, 1946. The photographers are not credited. A stapled booklet of sepia photographs of life in Tokyo immediately after the end of the war. (The word aki in the title makes it clear that fall here means autumn, not defeat.) Text and captions in both Japanese and English.
(in Japanese) Jūgosei Ichimura Uzaemon butai shashinshū (十五世市村羽左衛門舞臺寫眞集, Photograph collection of the fifteenth-generation Ichimura Uzaemon on the stage). Edited by 関逸雄. Kyoto: Wakei Shoten, 1951. On the kabuki actor. On the kabuki actor Ichimura Uzaemon (1874–1945). Ninety-six pages of photographs, of which pp. 21–68 are credited to Kimura (the remainder are uncredited).
(in Japanese) (With Nakagawa Kazuo) Shashin no utsushikata (写真の撮し方, How to take photographs). Tokyo: Kaname Shobō, 1953.
(With Nobuo Ina, edited by Yōnosuke Natori) Shashin no jōshiki. (写真の常識, Knowledge of the photograph). Tokyo: Keiyūsha, 1955.
Kimura Ihee dokuhon (木村伊兵衛読本). Special issue of Photo Art, August 1956.
(As editor) Jinbutsu shashin (人物写真). Asahi Camera Kōza (アサヒカメラ講座). Tokyo: Asahi Shinbunsha, 1956.
(Edited by Kimura Ihei and Nakajima Kenzō) Bungakusha no mita gendai no Chūgoku shashinshū (文学者のみた現代の中国写真集, Photograph collection of today's China as seen by writers). Tokyo: Mainichi Shinbunsha, 1960.
Kimura Ihee no sekai (木村伊兵衛の世界, The world of Ihei Kimura). Special issue of Asahi Camera, August 1974.
(in Japanese) Sengo shashin / Saisei to tenkai (戦後写真・再生と展開) / Twelve Photographers in Japan, 1945–55. Yamaguchi Kenritsu Bijutsukan, 1990. Despite the alternative title in English, almost exclusively in Japanese (although each of the twelve has a potted chronology in English). Twenty of Kimura's photographs of Akita appear on pp. 36–46.
Taidan: Shashin kono gojūnen (対談:写真この五十年, Conversations: The last fifty years of photography). By the editors of Asahi Camera. Tokyo: Asahi Shinbunsha, 1974. A collection of transcriptions of Kimura's discussions with various photographers and others concerned with photography.
Kimura Ihee (木村伊兵衛) / Special Issue: Ihei Kimura. Nikkor Club, no. 70, Autumn 1974.
(in Japanese) Kimura Ihee o yomu (木村伊兵衛を読む, Reading Ihei Kimura). Asahi Camera special edition. Tokyo: Asahi Shinbunsha, 1979. In Japanese only, but very substantial and contains a handy reference to Kimura's very numerous contributions to the magazine. (A special production by the Asahi Camera, prominently dated December 1979 and looking at first like that month's issue: but there was also a separate, regular issue for the month.)
Association to Establish the Japan Peace Museum, ed. Ginza to sensō (銀座と戦争) / Ginza and the War. Tokyo: Atelier for Peace, 1986. ISBN 4-938365-04-9 Kimura is one of ten photographers — the others are Ken Domon, Shigeo Hayashi, Tadahiko Hayashi, Kōyō Ishikawa, Kōyō Kageyama, Shunkichi Kikuchi, Kōji Morooka, Minoru Ōki, and Maki Sekiguchi — who provide 340 photographs for this well-illustrated and large photographic history of Ginza from 1937 to 1947. Captions and text in both Japanese and English.
(Joint work) Bunshi no shōzō hyakujūnin (文士の肖像一一〇人, Portraits of 110 literati). Tokyo: Asahi Shinbunsha, 1990. ISBN 4-02-258466-1. Kimura is one of five photographers — the others are Shōtarō Akiyama, Ken Domon, Hiroshi Hamaya, and Tadahiko Hayashi.
(in Japanese) Mishima Yasushi (三島靖). Kimura Ihee to Domon Ken: Shashin to sono shōgai (木村伊兵衛と土門拳:写真とその生涯, Ihei Kimura and Ken Domon: Photography and biography). Tokyo: Heibonsha, 1995. ISBN 4-582-23107-1. Reprint. Heibonsha Library. Tokyo: Heibonsha, 2004. ISBN 4-582-76488-6.
(in Japanese) Kimura Ihee no renzu: Sunappushotto wa kō tore! ( 木村伊兵衛の眼:スナップショットはこう撮れ!, The lens of Ihei Kimura: Here's how to take snapshots!). Taiyō (太陽) / The Sun, July 1999. Republished as a book in 2007.
Dokyumentarī no jidai: Natori Yōnosuke, Kimura Ihee, Domon Ken, Miki Jun no shashin kara (ドキュメンタリーの時代:名取洋之助・木村伊兵衛・土門 拳・三木淳の写真から) / The Documentary Age: Photographs by Natori Younosuke, Kimura Ihei, Domon Ken, and Miki Jun. Tokyo: Tokyo Metropolitan Museum of Photography, 2001. An exhibition catalogue. The book reproduces 28 of Kimura's photographs of Akita. Captions in both Japanese and English, other text in Japanese only.
Hiraki, Osamu, and Keiichi Takeuchi. Japan, a Self-Portrait: Photographs 1945–1964. Paris: Flammarion, 2004. ISBN 2-08-030463-1 Kimura is one of eleven photographers whose works appear in this large book (the others are Ken Domon, Hiroshi Hamaya, Tadahiko Hayashi, Eikoh Hosoe, Yasuhiro Ishimoto, Kikuji Kawada, Shigeichi Nagano, Ikkō Narahara, Takeyoshi Tanuma, and Shōmei Tōmatsu).
Kindai shashin no umi no oya: Kimura Ihee to Domon Ken (近代写真の生みの親:木村伊兵衛と土門拳) / Kimura Ihei and Domon Ken. Tokyo: Asahi Shinbunsha and Mainichi Shinbunsha, 2004. Catalogue of an exhibition.
(in Japanese) Kimura Ihee no renzu: Sunappushotto wa kō tore! (木村伊兵衛の眼:スナップショットはこう撮れ!, The lens of Ihei Kimura: Here's how to take snapshots!). Tokyo: Heibonsha, 2007. ISBN 978-4-582-63428-0. Reworked from the July 1999 issue of Taiyō: an economical, compact collection of photographs by (and of) Kimura, essays about him by prominent photographers (such as Kineo Kuwabara, Yutaka Takanashi and Nobuyoshi Araki), and such extras as an illustrated bibliography.
References
(in Japanese) "Kimura Ihei". Nihon shashinka jiten (日本写真家事典) / 328 Outstanding Japanese Photographers. Kyoto: Tankōsha, 2000. ISBN 4-473-01750-8.
Parr, Martin, and Gerry Badger. The Photobook: A History. Vol. 1. London: Phaidon, 2004. ISBN 0-7148-4285-0.
(in Japanese) Shashinka wa nani o mita ka: 1945–1960 (写真家はなにを見たか1945~1960, What did photographers see: 1945–1960). Tokyo: Konica Plaza, 1991. Pp. 84–91.
(in Japanese) Shashinka wa nani o hyōgen shita ka: 1960–1980 (写真家はなにを表現したか1960~1980, What were photographers expressing: 1960–1980). Tokyo: Konica Plaza, 1992. P. 97.
External links
Brief biography at PhotoGuide Japan