Shigechi Nagano - Magazine Work 60s - 2009

Shigeichi Nagano had his works published in various media forms mainly through photography magazines such as "Asahi Camera" and "Camera Mainichi" from the late 1950s to the early 1970s. Many subjects relate to the conflict of people in regards to the society that had dramatically changed amidst the backdrop of rapid economic growth. Mr. Nagano, who critically viewed the modern age, has been called a 'photo-essayist' and thus attracted attention as a photographer unlike the then existing photo-journalists.

In the middle of the 1950s, as photojournalism became increasingly popular, attention was granted to Nagano as his works were deemed to be intellectually fresh; previous documentary photographs were generally photo reportage, that is, were regularly developed by illustrating one story within objective records. In opposition to this, Nagano's methodology symbolically captured one event through his own individual subjective eye, and pursued photographic composition by visual sense excluding a story line as much as was possible.

— from Manabu Torihara's preface

These particularities are showcased in this book, which is constructed with photos which have been published in magazines by Shigeichi Nagano between the late 1950s and the early 1970s.


Unlike traditional 1950s photo-journalists who relied on linear, objective news reportage ("photo reportage"), Nagano pioneered a "photo-essay" style. He used a highly individual, subjective eye to capture singular events. His work prioritizes strong visual composition over a rigid story line.

The book primarily captures the tension and conflict of ordinary citizens navigating a Japanese society that was transforming due to rapid post-war economic growth. He is particularly well-known for documenting the daily lives, commutes, and routines of Tokyo’s sarariman (salarymen) with a distinct blend of critical observation and humor.

Influenced deeply by Henri Cartier-Bresson and Robert Capa, Nagano was a prominent figure in Japan's post-war photo-realism school. His work features unposed, raw elements of street photography alongside industrial social records, such as images of miners, farmers, and riot police from the era.

Hardcover under dust jacket, 26,4 x 20 cm, b&w and color photographs. First edition.

Copy and DJ in fine condition.