For photographs and other information, see "Teiko Shiotani Memorial Photo Gallery", Japan Travel Planner, ANA. The building should not be confused with the Shiotani family house, built in 1906 and registered as a Tangible Cultural Property of Japan at the same time. 塩谷定好写真記念館主屋, 登録有形文化財 (建造物), 国指定文化財等データベース,
Renee Bruns, "The picture shows", Popular Photography, January 1983, pp. 66–68, 181, 195. This issue of Popular Photography is available here at Google Books.
bunka.go.jp
kunishitei.bunka.go.jp
For photographs and other information, see "Teiko Shiotani Memorial Photo Gallery", Japan Travel Planner, ANA. The building should not be confused with the Shiotani family house, built in 1906 and registered as a Tangible Cultural Property of Japan at the same time. 塩谷定好写真記念館主屋, 登録有形文化財 (建造物), 国指定文化財等データベース,
According to the 1925 census, Tottori had a population of 472 thousand (and was the sole prefecture with under half a million people). The populations of Tokyo, Osaka, Hyōgo and Kyoto prefectures were, respectively, 4.49M, 3.06M, 2.45M and 1.40M. (Aichi, Fukuoka and Hokkaidō each had a population of over two million.) "Jinkō fuken" (人口 府県) = "Population par départements" (in Japanese and French); available via "Kokusei chōsa / Taishō 14-nen kokusei chōsa / zenkoku kekka hyō" (国勢調査 / 大正14年国勢調査 / 全国結果表; National census: Taishō 14 National census: National results tables) at e_Stat, 政府統計の総合窓口 = Portal Site of Official Statistics of Japan, National Statistics Center, Government of Japan.
There are bibliographic complexities. On the title page: The Age of Art Photography: Shiotani Teiko Exhibition Catalogue; on the colophon: The Age of Art Photography: Shiotani Teiko Exhibition; on the front cover: Shiotani Teiko 1899–1988. A description of The Age of Art Photography from its publisher.
moma.org
"The related concept of dépaysement, meaning dis-placement or dis-orientation, informed the isolation, fragmentation, and close cropping often seen in Surrealist photographs." Jodi Hauptman and Stephanie O'Rourke, "A surrealist fact" (PDF). In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds, Object:Photo: Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014.
nii.ac.jp
ci.nii.ac.jp
The exhibition: Shashin hyakunen: Nihonjin ni yoru shashin hyōgen no rekishi (写真100年 日本人による写真表現の歴史; One hundred years of photography: The history of Japanese photographic expression), Seibu, Ikebukuro, Tokyo, June 1968. The exhibits are listed in a catalogue of the same title: NCIDBA83773233; OCLC17234413.
Ryūichi Kaneko, "Nihon no pikutoriarizumu: Fūkei e no manazashi" (日本のピクトリアリズム 風景へのまなざし) = "The Pictorial Landscape in Japanese Photography"; pp. 7–11 (Japanese) and 12–16 (English) within Nihon no pikutoriarizumu: Fūkei e no manazashi = The Pictorial Landscape in Japanese Photography. Tokyo: Tokyo Museum of Photography, 1992. NCIDBN08240353; OCLC768248003.
Shōji Ueda, "Waga besutan renzu" (わがベス単レンズ; My Vest Pocket Kodak lens), within "Watakushi no sofuto fōkasu tekunikku" (私のソフトフォーカステクニック) = "My soft focus technique", pp. 42–45 within Kamera Rebyū (カメラレビュー) = Camera Review (NCIDAA11434110) no. 28 (March 1983).
Noriko Tsutatani (蔦谷典子), 中嶋謙吉と日本光画協会の写真家たち = "Nakajima Kenkichi and the members of the Japan Photography Association"; pp. 155–162 (Japanese) and xxi–xxvi (English) within Geijutsu shashin no seika: Nihon no pikutoriarizumu jugyō no meihinten (芸術写真の精華 日本のピクトリアリズム珠玉の名品展) = Masterpieces of Japanese Pictorial Photography. Tokyo: Tokyo Museum of Photography, 2011. NCIDBB05057957; OCLC768248003. Catalogue of an exhibition held in the Tokyo Metropolitan Museum of Photography, March–May 2011.
Fujifirumu foto korekushon-ten: Nihon no shashinshi o kazatta shashinka no "watakushi no ichimai": Fuji Firumu Kabushiki-gaisha sōritsu 80-shūnen kinen korekushon (フジフイルム・フォトコレクション展 日本の写真史を飾った写真家の「私の1枚」 富士フイルム株式会社創立80周年記念コレクション) = 101: Only One Photo Collection. Tokyo: Fuji Film, 2016. OCLC1122802505, NCIDBB15670584. Pp. 28–29, 217, 224.
nnn.co.jp
The photograph is mentioned for example within Vicki Goldberg, "When Japan adopted the camera as its very own", New York Times, 23 March 2003. It is discussed (in Japanese) within the article "Tottori-ken no bijutsuka-tachi: Watakushi no suki na itten: (43) Shiotani Teikō Tenki yohō no aru fūkei" (鳥取県の美術家たち 私の好きな１点（43）塩谷 定好「天気予報のある風景」; "鳥取県の美術家たち −私の好きな１点−". Archived from the original on 10 October 2008. Retrieved 17 February 2008.) from the front page of Nihonkai Shinbun [ja], 13 August 2006, which also reproduces it.
nytimes.com
query.nytimes.com
The photograph is mentioned for example within Vicki Goldberg, "When Japan adopted the camera as its very own", New York Times, 23 March 2003. It is discussed (in Japanese) within the article "Tottori-ken no bijutsuka-tachi: Watakushi no suki na itten: (43) Shiotani Teikō Tenki yohō no aru fūkei" (鳥取県の美術家たち 私の好きな１点（43）塩谷 定好「天気予報のある風景」; "鳥取県の美術家たち −私の好きな１点−". Archived from the original on 10 October 2008. Retrieved 17 February 2008.) from the front page of Nihonkai Shinbun [ja], 13 August 2006, which also reproduces it.
Alicia Ault, "How Japanese artists responded to the transformation of their nation", Smithsonian Institution, 22 October 2018. Accessed 3 August 2022. NB Ault first gives personal names in Japanese order (surname first), but thereafter refers to these people by their given names alone.
teiko.jp
"Purofīru" (プロフィール), Teiko Shiotani Memorial Photo Gallery. Accessed 10 January 2023.
Flyer from Shimano Art Museum for this exhibition (and smaller-scale exhibitions by Ikkō Narahara and Daidō Moriyama): JPEG mages of the front and back; PDF file of both, hosted by the Teiko Shiotani Memorial Photo Gallery. Accessed 25 December 2019.
Shinkō shashin (新興写真, literally "new photography") "differed strikingly from Pictorialism, which had been the leading form of art photography in Japan. The goal of the New Photography movement, which flourished from about 1930 on, was creative expression possible only through photography, making effective use of the mechanistic nature of the camera and lens." "The magazine and the new photography: Koga and Japanese modernism" (PDF file, press release for an exhibition). Tokyo Photographic Art Museum, 2018.
collection.topmuseum.jp
Ten prints when queried (here) on 5 August 2022. Yume no kageri, plates 11 (p. 30), 20 (p. 39), 27 (p. 46), 121 (p. 178).
As of July 2019, Shiotani was the sole recipient of this honour. 【町民の声】小林繁野球記念館等について (responding to a question about the possibility of a similar honour for Shigeru Kobayashi), Kotoura Town.
web.archive.org
The photograph is mentioned for example within Vicki Goldberg, "When Japan adopted the camera as its very own", New York Times, 23 March 2003. It is discussed (in Japanese) within the article "Tottori-ken no bijutsuka-tachi: Watakushi no suki na itten: (43) Shiotani Teikō Tenki yohō no aru fūkei" (鳥取県の美術家たち 私の好きな１点（43）塩谷 定好「天気予報のある風景」; "鳥取県の美術家たち −私の好きな１点−". Archived from the original on 10 October 2008. Retrieved 17 February 2008.) from the front page of Nihonkai Shinbun [ja], 13 August 2006, which also reproduces it.
Shiotani's pseudonyms: Sadako Shiotani (塩谷貞子, his wife's name), Sōnosuke Shiotani (塩谷宗之助, his first son's name), Gyokkō Shiotani (塩谷玉光), Yukiko Inoue (井上幸子), Kaoru Ōyama (大山香), Sadayoshi Shioi (塩井定好). (When printed until the late 1940s, 塩 would normally have appeared as 鹽.) By contrast, Teikō (the name by which he came to be known as a photographer) was not a pseudonym but instead a yūsoku-yomi [ja; ko] (reading used for professional purposes) of his actual name 定好 (first intended to be read as "Sadayoshi"). Most references to Shiotani in Japanese do not specify the pronunciation of 定好; where specified, it is usually "Teikō" but occasionally "Sadayoshi". Some early prints are marked "S.SIOTANI" or "SSIOTANI"; the example here of the latter is from the 1925/1926 print, also shown in this article, of Bird's-Eye View of a Village. ("Siotani" is the equivalent in Kunrei or Nihon romanization to "Shiotani" in Hepburn romanization.) By contrast, many postwar prints are signed with the single character 塩 (i.e. "Shio"); these include plates 78, 79, 81, 82, 84 in The Age of Art Photography. The form "Sadayoshi Shiotani" was used in (i) the travelling exhibition Fotografia Giapponese dal 1848 ad Oggi (as evidenced in both the Italian- and the English-language book that accompanied it), (ii) the Photokina exhibition Fotografie 1922–1982 (as evidenced in both its bilingual catalogue and a review: Renee Bruns, "The picture shows", Popular Photography, January 1983, p. 181), and (iii) the March 1988 Photo Metro.
Kenkichi Nakajima [ja], "Fūdo hazushi" (フード外し; Removing the hood), chapter 4 (pp. 31–39) of Vesutan no tsukaikata (ヴェス単の使ひ方; How to use the Vest Pocket Kodak), Tokyo: Kodaisha, 1933. OCLC673309139.
The photograph is mentioned for example within Vicki Goldberg, "When Japan adopted the camera as its very own", New York Times, 23 March 2003. It is discussed (in Japanese) within the article "Tottori-ken no bijutsuka-tachi: Watakushi no suki na itten: (43) Shiotani Teikō Tenki yohō no aru fūkei" (鳥取県の美術家たち 私の好きな１点（43）塩谷 定好「天気予報のある風景」; "鳥取県の美術家たち −私の好きな１点−". Archived from the original on 10 October 2008. Retrieved 17 February 2008.) from the front page of Nihonkai Shinbun [ja], 13 August 2006, which also reproduces it.
ko.wikipedia.org
Shiotani's pseudonyms: Sadako Shiotani (塩谷貞子, his wife's name), Sōnosuke Shiotani (塩谷宗之助, his first son's name), Gyokkō Shiotani (塩谷玉光), Yukiko Inoue (井上幸子), Kaoru Ōyama (大山香), Sadayoshi Shioi (塩井定好). (When printed until the late 1940s, 塩 would normally have appeared as 鹽.) By contrast, Teikō (the name by which he came to be known as a photographer) was not a pseudonym but instead a yūsoku-yomi [ja; ko] (reading used for professional purposes) of his actual name 定好 (first intended to be read as "Sadayoshi"). Most references to Shiotani in Japanese do not specify the pronunciation of 定好; where specified, it is usually "Teikō" but occasionally "Sadayoshi". Some early prints are marked "S.SIOTANI" or "SSIOTANI"; the example here of the latter is from the 1925/1926 print, also shown in this article, of Bird's-Eye View of a Village. ("Siotani" is the equivalent in Kunrei or Nihon romanization to "Shiotani" in Hepburn romanization.) By contrast, many postwar prints are signed with the single character 塩 (i.e. "Shio"); these include plates 78, 79, 81, 82, 84 in The Age of Art Photography. The form "Sadayoshi Shiotani" was used in (i) the travelling exhibition Fotografia Giapponese dal 1848 ad Oggi (as evidenced in both the Italian- and the English-language book that accompanied it), (ii) the Photokina exhibition Fotografie 1922–1982 (as evidenced in both its bilingual catalogue and a review: Renee Bruns, "The picture shows", Popular Photography, January 1983, p. 181), and (iii) the March 1988 Photo Metro.
Vesutan no tsukaikata (ヴェス単の使ひ方; How to use the Vest Pocket Kodak; OCLC673309139); five years later, Vesutan Pāretto no tsukaikata (ヴェス単パーレットの使ひ方; How to use the vest-pocket Pearlette; OCLC672633250). (The Pearlette was a near-copy by Konishiroku of Contessa-Nettel's Piccolette, itself derived from the Vest Pocket Kodak.)
The exhibition: Shashin hyakunen: Nihonjin ni yoru shashin hyōgen no rekishi (写真100年 日本人による写真表現の歴史; One hundred years of photography: The history of Japanese photographic expression), Seibu, Ikebukuro, Tokyo, June 1968. The exhibits are listed in a catalogue of the same title: NCIDBA83773233; OCLC17234413.
Ryūichi Kaneko, "Nihon no pikutoriarizumu: Fūkei e no manazashi" (日本のピクトリアリズム 風景へのまなざし) = "The Pictorial Landscape in Japanese Photography"; pp. 7–11 (Japanese) and 12–16 (English) within Nihon no pikutoriarizumu: Fūkei e no manazashi = The Pictorial Landscape in Japanese Photography. Tokyo: Tokyo Museum of Photography, 1992. NCIDBN08240353; OCLC768248003.
Kenkichi Nakajima [ja], "Fūdo hazushi" (フード外し; Removing the hood), chapter 4 (pp. 31–39) of Vesutan no tsukaikata (ヴェス単の使ひ方; How to use the Vest Pocket Kodak), Tokyo: Kodaisha, 1933. OCLC673309139.
Noriko Tsutatani (蔦谷典子), 中嶋謙吉と日本光画協会の写真家たち = "Nakajima Kenkichi and the members of the Japan Photography Association"; pp. 155–162 (Japanese) and xxi–xxvi (English) within Geijutsu shashin no seika: Nihon no pikutoriarizumu jugyō no meihinten (芸術写真の精華 日本のピクトリアリズム珠玉の名品展) = Masterpieces of Japanese Pictorial Photography. Tokyo: Tokyo Museum of Photography, 2011. NCIDBB05057957; OCLC768248003. Catalogue of an exhibition held in the Tokyo Metropolitan Museum of Photography, March–May 2011.
Fujifirumu foto korekushon-ten: Nihon no shashinshi o kazatta shashinka no "watakushi no ichimai": Fuji Firumu Kabushiki-gaisha sōritsu 80-shūnen kinen korekushon (フジフイルム・フォトコレクション展 日本の写真史を飾った写真家の「私の1枚」 富士フイルム株式会社創立80周年記念コレクション) = 101: Only One Photo Collection. Tokyo: Fuji Film, 2016. OCLC1122802505, NCIDBB15670584. Pp. 28–29, 217, 224.
yokohama.art.museum
inventory.yokohama.art.museum
Ten prints when queried here on 5 August 2022. Itoshiki mono e; items 69 (p. 50), 96 (p. 64), 106 (p. 72), 240 (p. 156), 247 (p. 161). The Legend in Art Photography, item s95 (pp. 72, 271). Yume no kageri, plates 6 (p. 22), 54 (p. 88), 134 (pp. 194–195).
