Camera Jidai

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Camera Jidai カメラ時代 ( Camera Age )

January 1966 - January 1967
Monthly
Founding publisher: Shashin Dōjinsha, Tokyo
Founding editor: Sasatani Mitsuko

Established in 1966 by photo critic Yoshimura Nobuya, Camera Jidai was a theoretically orientated photography magazine.
With Sugiura Kohei as cover designer, Camera Jidai had a left to right reading and opening, horizontal line format, and published special issues on such photographers as Narahara Ikko, Hosoe Eikoh, Kawada Kikuji and Imai Hisae.
The magazine had an important monthly topic: Symposium Japan 1966.
Camera Age was a major promoter of joint productions by photographers. The method of collaborative production became widespread in Japan in the 1950s and 1960s.
The All-Japan Association of Student Photographic Societies ( formed in 1952 by Tōmatsu, among others) through which the All-Student Photography Contest was established in 1956, had a section for “joint production’. This resulted in university photography clubs whose members placing joint productions at the center of their activities.
The symposium "Japan 1966" is a place for collaborative research between photographers, photo critics, and editors.
This section, which ran in the January to December issues, was edited by Fukushima Tatsuo, Shigemori Kōen and Wada Tsutomu, who took turns in selection the photographs from those that were submitted to make up the pages.

Kaneko Ryūichi writes in 'Japanese Magazines 1880s-1980s; (..) " The year 1966, when the 'Symposium' was serialized in the Camera Age, may have been the last time that photo critics, editors, and students shared the hope that the method of collaborative production had the potential to revolutionize photographic expression" .

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Camera Age 2 February 66

Editor: Sasatani Mitsuko
Cover: Nagano Shigeichi
Title and Cover Design; Sugiura Kohei
185 pages
B5, approx. 18,5 x 26 cm

Selection of content:
10 best contemporary photographers 2: Pioneers of intelligent photography: Nagano Shigeichi→ 4-30 / For young people aspiring to be photographers/Perspectives on masterpieces and research on artists: Nagano Shigeichi/Watanabe Tsutomu 31 / /Nagano Shigeichi, the light critic/Ito Yoshikazu 38 / Symposium Japan 1966-46-64, Joint research aimed at new photography/59 participants, dialogue and criticism/What should we photograph?/Shigemori Koen + editorial staff 60 /Photo review, The best three, 123-135 / Camera magazine/Yoshimura Shinya 124 Daily newspaper/Sasaki Kentaro 132 / Camera magazines, monthly/Ito Yoshikazu ●126/ General magazines/Kurahara Teruhito 128 Graphic magazines, weekly magazines/Tsuda Shinichi 130/ Photo contests/Sasatani Mitsuko ●134 / Essays; The meaning of seeing/Matsumoto Toshio 42 What the judges say/Iwama Tomohisa 99 Thoughts on camera clubs/Hikida Takeshi 144 / A book for photography/Miki Jun 44 / Controversial points in the art of photography/Tsuda Shinichi 164 /
Mechanical Essays/Camera Maniac and Glass Beads/Matsuda Shizuo 154 / Mechanism Report/New Product News 157 / Reader Questions, Expert Answers 160 / Movies Made from Photos/Yunpogi's Diary 136 Sharp Tongue Journal/Editors' Roundtable 138 / Photo Contest, This Month's Prize-winning Works 74-97 / All Japan Student Photo Contest Special 88 Invitation to the Contest/Editorial Department 171 / Contest Review/Tanaka Masao 100 / Camera Era Encouragement System 70 / Straightforward! Diagnosis 185 / Camera Era Monthly Contest / Color Photography with a Color Theme 72 / Photo Salon 107 Group Photography Class 117 Color Review/Ema Hiroshi 166 / Black and White Review/Editorial Department 167

2nd Symposium Japan 1966
13 pages in gravure printing.
From the introduction:
'Socially, economically, and politically, a crisis is looming, but we are buried in our daily lives and have become insensitive to it. The viewpoint of the contributors is set on this situation, which can also be said to be an image of a "holiday." It is a cross-section of our own daily lives, apathetic and optimistic.
A slice of our own daily lives.'

Participants of the 2nd Symposium,
Arakawa Toshihisa/Iijima Toshikazu/Ishihara Kaname/Ichimura Takashi/Ito Kiyotaka/Ito Takeshi/Ito Tonohiro/Uchida Kazumasa/Uchida Kokichi/Umihara Masatoshi/Esaki Teruya
Kadoguchi Yoshio/Kawanobe Kuni/Kitajima Toshiyuki/Kitamura Toshisuke/Kurahara Teruhito/Kosaka Yoshiteru/Odaka Kiyoshi/Kondo Fusami
Sato Tomomitsu/Sanada Hiroshi/Sawai Atsushi/Shimaoka Cho/Shimizu Masayoshi/Shiraishi Iwao/Suzuki Takeyuki/Segawa Masanori
Takeda Kiyomi/Hashi Yoshihiko/Daimon Denko/Tatsu Eisaku/Tanaka Haruo/Tanaka Chotoku/Tanimura Yoshiaki/Tang Yung-chi/Terada Jiro
Nakase Isao/Nagai Senkichi/Namiki Tetsuo/Narita Jun
Hasegawa Akira/Hasegawa Setsuko/Hamaro Takashi/Hamanaka Yoshitaka/Hayashi Masanobu/Harada Shigeru/Nicchu Gyōichi/Hirata Shiro
Matsushima Teruo/Mitsuji Midorichi/Miyauchi Hiroshi/Miyata Katsuhiko/Yagi Mitsuhiro/Yanuma Shinji/Yamauchi Koji/Yamamoto Gen/Yano Yoshiyuki
Yokota Katsuo/Yoshii Isao (in alphabetical order)

Right page: Eisaku Tatsu

Left page: Tanaka Chonon.

Right page top: Yaginuma Shinji
Bottom: Yaginuma Shinji

Left page and right page on top: Yoshiyuki Yano

Right page bottom: Kurahara Teruto

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10 best contemporary photographers 2: Pioneers of intelligent photography:
The works of Nagano Shigeichi, 25 pages in gravure , + 10 pages essays in offset.

Spring in Rishihiri , 1956

Ladies and Gentlemen, 1959

Schoolmates, 1961

( title in the book: Edogawa, Tokyo
Palace Club Enjokai , Prince Hitachi and his fellow students at Gakushuin, 1961 )

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Japan’s Dream Age. ドリーム・エイジ
Sonorama Photography Anthology, Vol. 10
20,8 x 22 cm, hardcover, dust jacket
120 pages, sheet-fed gravure.
Asahi Sonorama, Tokyo 1978

The photographs of Nagano Shigeichi in this selection cover the period from the latter half of the 1950’s through the EXPO ’70 World Trade Exposition in Osaka in 1970.
They were taken mainly for publication in various photo magazines.
At the time they appeared, these photographs drew attention because they differed somewhat in technique from similar photographs based on matters of social concern ( which today have become to be known as reportages and documentaries ).
Critics and journalist, therefor, tagged Nagano’s work as ‘photo essays’, a term which they felt described them best.

From the introduction by Yamagishi Shoji

Left page: Tokyo subway, 1966

Right page: Tokyo Chuo Line commuter train, 1960

Tokyo Haneda Airport
Business leaders on an economic mission to the United States, 1961

Left: Marunouchi, Tokyo
Salaryman in an office district, 1965

Right: Ikebukuro, Tokyo
Management Service Research
Completing the course by company name
Graduation ceremony at a securities company's management training institute, 1962