Naniwa Photography Club

The Naniwa Photography Club (浪華写真倶楽部) is an avant-garde amateur photography club that was established with the support of the Kuwata Photographic Materials company in 1904 in Osaka. [1] [2] [3]It is the oldest amateur photography club in Japan. Key members were Kuwata Shozaburo, Ishii Yoshinosuke, Kometani Koro, Fukumori Hayuko, Yasui Nakaji,[4] Yoho Tsuda, Hirai Terushichi, Kobayashi Meison, and Umesaka Ori.

After establishment, the club began to exhibit their Nami-ten exhibition. This photography exhibition has been held almost every year since the club was established with several exceptions of the years during World War II. [1] The clubs second exhibition was held in 1908 and kicked off major organized activities by the club. The central photographers in this exhibition were Kometani Koro, Yokoyama Kinkei and Kajiwara Keibun. These photographers used pigment printing process in their gum-bichromate prints. [5]

During the Taisho Era, the group's works were centered around Pictorialism. Yasui Nakaji became a member of the Naniwa Photography Club in the second half of the Taisho Era. He used the Bromoil Process to create his Pictorialist photographs. Nakaji would later establish the Tampei Photography Club in 1930.[5]

The character of the works exhibited by the Naniwa Photography Club changed drastically in the 21st Nami-ten exhibition in 1932 when the works of Koishi Kiyoshi were exhibited.[6] Koishi's series Early Summer Nerves utilized special techniques such as photogram and photomontage. This was the moment that the Naniwa Photography Club became one of the central clubs of the Japanese Shinko-Shashin (New Photography) Movement. They embarked on a more Surrealist approach to avant-garde photography in Japan. [1]

Together with the Tampei Photography Club and the Ashiya Camera Club, the Naniwa Photography Club became the cultural powerhouses of the Kansai photography scene. While their counterparts in Tokyo focused more on a journalistic approach to photography that highlighted social issues the Kansai photography clubs pursued a more modernist style approach. [7]

Sakata Minoru was a member of the Naniwa Photography Club but in 1934 became the leader of the Nagoya Photography Group. [8]


References
  1. Nihon shashinka jiten : Tōkyō-to Shashin Bijutsukan shozō sakka. Tōkyō-to Shashin Bijutsukan, 東京都写真美術館. (Shohan ed.). Kyōto-shi: Tankōsha. 2000. ISBN 4-473-01750-8. OCLC 44769689.{{cite book}}: CS1 maint: others (link)
  2. "Collections Online | British Museum". www.britishmuseum.org. Retrieved 2023-03-14.
  3. Kaneko, Ryuichi; Toda, Masako; Vartanian, Ivan (2022). Japanese Photography Magazines: 1880s to 1980s (1st ed.). Singapore: Golgia Books. p. 26. ISBN 978-4-9912761-0-1.
  4. all-about-photo.com. "Nakaji Yasui". All About Photo. Retrieved 2023-03-14.
  5. Modern photography in Japan, 1915-1940. Ansel Adams Center. San Francisco: Friends of Photography. 2001. ISBN 0-933286-74-0. OCLC 48633519.{{cite book}}: CS1 maint: others (link)
  6. Tucker, Anne Wilkes (2 March 2003). The history of Japanese photography. Yale University Press in association with theMuseum of Fine Arts, Houston. ISBN 0-300-09925-8. OCLC 433463750.
  7. Sengo no Naniwa Shashin Kurabu : Tsuda Yōho, Seki Shōsuke, Sakai Heihachirō o megutte. Ryūichi Kaneko, Yasumasa Kawata, 金子隆一, 川田康正, Naniwa Shashin Kurabu, MEM. Tōkyō. 2018. ISBN 978-4-909598-04-2. OCLC 1101193696.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  8. "東京都写真美術館". 東京都写真美術館 (in Japanese). Retrieved 2023-03-14.
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