Hiroshi Hamaya (濱谷 浩[n 1],Hamaya Hiroshi, 28 March 1915 – 6 or 15 March 1999[1]) was a Japanesephotographer active from 1935 to 1999.[2] In particular, Hamaya was known for his photographs of rural Japan.[3]
Hamaya was born inShitaya, Tokyo, Japan, on 28 March 1915.[2] Between 1942 and 1945 he contributed toFront, the propaganda photo journal of the Tōhō-sha company.[4]
By 1955 one of Hiroshi Hamaya's photographs, a high-angle view of kimono-clad springtime dancers led by his wife, was included by curatorEdward Steichen in the world-touringMuseum of Modern Art exhibitionThe Family of Man that was seen by more than 9 million visitors.
In 1956, Hamaya published his acclaimed photobook "Snow Country" (Yukiguni) featuring photographs of Japan's frigid northeasternTōhoku region in winter.[citation needed]
In 1960, Hamaya took part in the massiveAnpo protests against revision of theU.S.-Japan Security Treaty, and published a book of his photographs of the protesters titled "A Record of Anger and Sadness" (Ikari to kanashimi no kiroku), reflecting Hamaya's disappointment that the protests failed to stop the treaty.[3]
Mite kita Chūgoku (見てきた中国) /The China I Have Seen. Tokyo: Kawade Shobō Shinsha, 1958. A separate booklet contains an English translation.
Shi no furusato (詩のふるさと). Tokyo: Chūōkōronsha, 1958.
Hamaya Hiroshi shashinshū (浜谷浩作品集). Gendai Nihon shashin zenshū (現代日本写真全集). Tokyo: Sōgensha, 1958. Number 3 in a set of nine booklets of Japanese photography, the only other photographers having entire booklets devoted to their work beingIhei Kimura andKen Domon.
Kodomo fūdoki (こども風土記) /Children in Japan. Tokyo: Chūōkōronsha, 1959. Photographs of children in Japan.
Ikari to kanashimi no kiroku (怒りと悲しみの記録). Tokyo: Kawade Shobō Shinsha, 1960.
Nihon rettō (日本列島) /Landscapes of Japan. Tokyo: Heibonsha, 1964.
Hiroshi Hamaya. I Grandi Fotografi. [Milano]: Gruppo Editoriale Fabbri, [1982].
Gakugei shoka (學藝諸家[n 6]) /Gakugei Shoka. Tokyo: Iwanami, 1983. 2nd ed. Tokyo: Iwanami, 1991.ISBN4-00-000300-3. Black and white portraits of writers and other people in the arts, 1937–82. Texts in Japanese, captions in Japanese and English.
Hiroshi Hamaya. Los Grandes Fotografos. Barcelona: Ediciones Orbis, 1984.
Nyonin rekijitsu: Hamaya Asa tsuitō shashinchō (女人暦日 濱谷朝追悼写真帖) /Calendar days of Asaya Hamaya, 1948–1950. Ōiso, Kanagawa: Hamaya Hiroshi, 1985. A portfolio of photographs of Hamaya's wife taken 1948–1950, issued as a memorial to her after her death.
Shōwa nyoninshū: Shashinshū (昭和女人集 写真集) /Women in the Showa Era. Tokyo: Mainichi Shinbun-sha, 1985.
Hamaya Hiroshi ten: ICP masutā-obu-fotogurafī-shō jushō kinen (濱谷浩展 ICPマスター・オブ・フォトグラフィー賞受賞記念) /Hiroshi Hamaya: Fifty-Five Years of Photography. Tokyo: PPS Tsūshinsha, 1986.
Emergence de la terre. Neuilly: Éditions Hologramme, 1986. With a preface byMarc Riboud.
Hamaya Hiroshi: Shashin taiken 60 nen (濱谷浩 写真体験60年). Hiratsuka, Kanagawa: Hiratsuka Museum of Art, 1991. Catalogue of an exhibition held at theHiratsuka Museum of Art.
Shashin no seiki: Hamaya Hiroshi shashin taiken roku-jū-roku-nen (写真の世紀 濱谷浩写真体験六六年). Tokyo: Tokyo Metropolitan Museum of Photography, 1997. Catalogue of an exhibition of 66 years' work by Hamaya held at theTokyo Metropolitan Museum of Photography.
Fukuen zuisho no hitobito (福縁隨處の人びと[n 7]). Tokyo: Sōjunsha, 1998.ISBN4-7943-0528-1. Black and white portraits of writers and other people in the arts. Texts and captions in Japanese.
Ichi no oto: 1930-nendai Tōkyō: Hamaya Hiroshi sakuhinshū (市の音 一九三〇年代・東京 濱谷浩写真集). Tokyo: Kawade Shobō Shinsha, 2009.ISBN978-4-309-27108-8. Photographs of Tokyo in the 1930s.
Ichi no oto: Machi no sazanuki: 1930-nendai Tōkyō: Hamaya Hiroshi sakuhinten (市の音・街のさざめき 1930年代・東京 濱谷浩作品展). JCII Photo Salon Library 238. Tokyo: JCII, 2011. Booklet accompanying an exhibition of photographs of Tokyo in the 1930s.
Other publications with major contributions by Hamaya
Judith Keller and Amanda Maddox, eds.Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto. Los Angeles: J. Paul Getty Museum, 2013.ISBN978-1-60606-132-9. Catalogue of an exhibition of the work of Hamaya andKansuke Yamamoto.
^In modern script, this is浜谷浩: Hamaya and his publishers seem to have used the older character forhama (濱) rather consistently even after the nationwide orthographic reform, but his name is sometimes found written with the simplified character.
^According to Hopkinson, on 15 March; according to Mihashi, on 6 March.
^Old orthography (then current) forshashinjutsu; in modern form this would be写真術.
^The photographer or publisher's deliberate use of old orthography forhenkyō; in modern form this would be辺境.